Fallschirmjäger & Flieger Marches

A 24-track digital album of aviation and paratrooper marches, songs and a spoken report. The recordings are presented in their original form, with historical notes and sources to help place each item in context.

German-language songs · 1 spoken report · 24 MP3 tracks · approximately 71 minutes · 256 kbps

English translations, when included, appear in the written research notes only. They are not part of the audio files.

Your download

Your purchase includes one ZIP file with all 24 numbered MP3 tracks. The files are encoded at 256 kbps and the download is approximately 137 MB. Unzip the folder to access the tracks individually. This is a digital download; no physical CD is included.

Track listing

Choose a title to follow one recording at a time. Individual tracks are also available for $0.99 each.

1. Bomben auf Engelland — 2:47
2. Bombenflieger Marsch — 2:58
3. Hermann Göring Marsch — 3:13
4. Fliegerkameraden — 3:05
5. Lied der Balloniere — 3:02
6. Militärsignal Marsch — 3:01
7. JU 88 Lied — 3:12
8. Kampfgeschwader Immelmann — 2:24
9. Revere Marsch — 2:51
10. Aufwärts zur Sonne — 3:07
11. Flieger empor — 3:06
12. Deutscher Flieger Marsch — 2:47
13. Flieger sind Sieger — 3:08
14. Flieger Fanfare — 2:52
15. Lied der Junkers Flugzeug- und Motorenwerke — 3:24
16. Jagdgeschwader Richthofen — 3:19
17. Bruno Loerzer — 3:00
18. Prinz Max Brigade — 2:36
19. Schön blüh’n die Heckenrosen — 3:26
20. Marsch der Fallschirmjäger — 2:52
21. Fallschirmjäger — 2:50
22. Rot scheint die Sonne — 2:48
23. Combat Report of FJ Assault on Crete — 1:40
24. Stuka Lied — 3:27

Music in its historical setting

The recordings sit within a wider wartime culture of military music, film and public performance. A Clark University postcard credits “Bomben auf Engelland” to Norbert Schultze and Wilhelm Stoeppler and connects the song with the film Feuertaufe. A 1941 Wiener Konzerthaus programme also lists Robert Küssel’s “Flieger sind Sieger” from D III 88. These documents establish historical associations; they do not, by themselves, identify the performers or recording dates for this album.

Read the listening guide: propaganda, context and critical listening →