Collection entry
Wir Deutsche fürchten Gott und sonst nichts auf der Welt
Twenty-four supplied march and song labels sit beneath a title resembling Bismarck’s political language. The notes distinguish older works, later political uses and unidentified performances, including the persecution surrounding Nazi musical propaganda.
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24 source files · About 64 minutes
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1.Badenweiler Marsch
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The recordings
1.Badenweiler Marsch2:54
Historical Context
In its 1952 account of the Socialist Reich Party’s prohibition, Germany’s Federal Constitutional Court described the party’s recommendation of the Badenweiler march for rallies as part of its reuse of Nazi propaganda. This documents a political afterlife for the march title after the regime’s defeat.
Recording details
The short supplied title does not authenticate a composition, arrangement or recording. This historical court document is not a present-day legal assessment of this file.
Sources & Resources
The Bundesverfassungsgericht reference was checked through indexed text; the full source was unavailable.
Bundesverfassungsgericht: Verlautbarung der Pressestelle des Bundesverfassungsgerichts, 1952
2.Yorck`scher Marsch2:42
Historical Context
Beethoven’s march crossed military borders: the Bundeswehr places its entry into the Prussian march collection between 1817 and 1819, while leaving the transfer and familiar Yorck title unresolved. Beethoven-Haus also catalogues an 1822 autograph containing work on its trio.
Recording details
The manuscript date concerns an unfinished score, not the supplied performance. No ensemble, arrangement or recording date is established.
Sources & Resources
The Bundeswehr, Beethoven-Haus Bonn reference was checked through indexed text; the full source was unavailable.
- 3.Schützen Defilier Marsch2:18
- 4.König Karl Marsch2:46
- 5.Tölzer Schützenmarsch2:29
6.Preussens Gloria2:44
Historical Context
Johann Gottfried Piefke’s Preussens Gloria found its wider audience after the composer’s death in 1884. Although his own regiment played it frequently, the rbb’s history places its broader establishment in the army around 1910. A publishing notice from February 1912 offers a new arrangement by Theodor Grawert for piano, military band and cavalry band. Together, these sources trace a march moving from a local regimental repertory into several printed performing formats, decades after Piefke’s own musical career had ended.
Recording details
The sources concern the named work and printed editions. They do not identify the supplied performance, its arrangement, ensemble, language or recording date.
- 7.Hohenfriedberger Marsch2:51
- 8.Fridericus Rex2:54
9.Bayerischer Defiliermarsch2:49
Historical Context
Adolf Scherzer wrote the Bayerischer Defiliermarsch in Ingolstadt in 1850, while serving as music master of the Royal Bavarian 7th Infantry Regiment. Its history also survives under another name: the Franconian folk-music research archive identifies it as the earlier Avancier-Marsch. Its catalogue traces the piece through the parade repertories of several Bavarian regiments, including units in Bamberg, Neu-Ulm and Passau. A march associated with one composer and garrison thus became shared repertory across a wider military network.
Recording details
This is work and title history. The archive’s separate Telefunken disc does not identify this file’s performer, arrangement, original issue or date.
- 10.84 er Regimentmarsch2:06
11.Hoch und Deutschmeister2:33
Historical Context
Dominik Ertl’s march belongs to a career that moved between regimental music and popular entertainment. Before completing his military service with the Hoch- und Deutschmeister regiment, he had already conducted at Vienna’s Danzer’s Orpheum. The Wienbibliothek preserves his handwritten score for large string orchestra, signed in Vienna on 8 July 1885. Later that year, the march’s printed editions were advertised. His surviving output comprises hundreds of works, chiefly songs and couplets alongside dances and marches, placing this familiar title within a much broader world of theatre and concert music.
Recording details
The short supplied label permits a comparison with Ertl’s titled march, not authentication of the music in this file. The manuscript date and orchestral scoring do not establish this performance’s arrangement, musicians, language or date.
- 12.Kaiserschützenmarsch2:37
- 13.Erzherzog Friedrich Marsch2:15
- 14.Kaiserjäger Marsch2:38
- 15.Grenadier Marsch1:54
- 16.Erzherzog Albrecht Marsch3:20
17.Castaldo Marsch2:14
Historical Context
Rudolf Nováček dedicated his Castaldo-Marsch to Ludwig von Castaldo, commander of Prague’s 28th Infantry Regiment. In October 1890, a Prague newspaper advertised editions for piano, string orchestra and military band. Its musical life extended into civilian concerts: the Austrian band association cites a 1923 newspaper account of its popularity and suggests it was particularly favoured as a closing march. Nováček was also a violinist and conductor whose career took him to Romania, Bulgaria, the Netherlands and Belgium.
Recording details
This history concerns Nováček’s named work. Neither the cited printed formats nor the museum’s separate film identifies this audio’s performers, arrangement, language, recording date or original issue.
- 18.Nussdorfer Marsch1:34
19.Andreas Hofer Marsch2:40
Historical Context
Gustav Mahr’s work list in Salzburg’s music history includes an Andreas Hofer-Marsch. His career moved among Habsburg regimental bands, including Salzburg and the Tyrolean Kaiserjäger, before continuing with musical ensembles in Linz after the First World War.
Recording details
This is a same-title work comparison. It does not establish that the supplied performance is Mahr’s composition or a recording by one of those regiments.
Sources & Resources
The source’s biographical sections disagree on Mahr’s death year; no death date is used here.
Manfred König: 9.11. Blasmusik in Salzburg, in Bräuche im Salzburger Land
- 20.Alte Kameraden4:37
21.Radetzky Marsch2:50
Historical Context
A manuscript rediscovered by Strauss researcher Norbert Rubey in 1999 preserves an early version of Johann Strauss I’s Radetzky-Marsch. Engraver’s markings connect it with the 1848 editions, providing a window into the march before the many later performing versions.
Recording details
The source history does not identify this recording’s edition, orchestration, arranger or ensemble.
- 22.Kadetten Marsch2:34
- 23.Der alte Trommler3:35
24.Ich hab mich ergeben2:08
Historical Context
Hans Ferdinand Maßmann wrote Ich hab mich ergeben in 1820. The song circulated among students, gymnasts and choirs, appeared widely in Nazi-era songbooks, and was sung at the Parliamentary Council on 23 May 1949. Its changing uses resist a single political or period label.
Recording details
The supplied title does not establish the verses, vocal content, arrangement or date heard in this file.
Behind the sound
Older repertory and changing political claims
The title resembles a phrase from Bismarck’s Reichstag speech of 6 February 1888. The German Historical Institute distinguishes that event from a 1901 painting and explains how later quotations often omitted his accompanying emphasis on preserving peace through military strength. This history concerns the collection’s framing; it neither dates the files nor establishes performances from the German Empire.
The later use of a march could carry a new political message. In its 1952 account of the SRP prohibition, the Federal Constitutional Court discussed reuse of Hitler’s preferred Badenweiler march. Library records also list different works under closely related titles. This comparison requires caution, alongside the Nazi cultural exclusion of Jewish and politically suspect artists; no work or performance is settled by the filename.
Other titles crossed institutions and eras. The Yorck march moved from Beethoven’s Austrian military music into the Prussian collection in 1817–1819. Ich hab mich ergeben, with a text dating to 1820, circulated in Nazi-era songbooks and was also sung at the Parliamentary Council in 1949. These histories leave each file’s arrangement, verses, musicians and date unresolved.
Presented for critical historical study of musical traditions, political appropriation and persecution. Nazi ideology, exclusion and violence are not endorsed.