Photo was taken in France, 1943.
Source: own collection
Herms Niel & Reichsmusikzug des RAD
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Fallersleben
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Fallersleben
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Ivan Ž.
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Sid Guttridge
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A fascinating thread of the off-beat (no pun intended) sort that justifies the existence of sites like AHF.
It leads me to wonder to what extent Niel and his works were genuinely popular, or whether his prolificness and profile was more down to his official position within the regime's cultural organs?
For example, the wartime popularity of Lilli Marlene seems to have arisen accidentally due to a genuine popular response amongst the troops. But did official-sounding works such as The Song of the Luftwaffe Auxiliary elicit the same popular response?
Cheers,
Sid.
It leads me to wonder to what extent Niel and his works were genuinely popular, or whether his prolificness and profile was more down to his official position within the regime's cultural organs?
For example, the wartime popularity of Lilli Marlene seems to have arisen accidentally due to a genuine popular response amongst the troops. But did official-sounding works such as The Song of the Luftwaffe Auxiliary elicit the same popular response?
Cheers,
Sid.
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Ivan Ž.
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Hello, Sid
This is a good question which requires probably a bit longer reply and analysis, but I'll try to keep it short for now. There is still much to be written on Niel. "The Song of the Luftwaffe Auxiliary" is basically an unknown song, and without the postcard posted by "Claymore" most people wouldn't even know it ever existed. We still haven't found another source mentioning this piece. It's from the late stage of the war (1943/1944) and at the time military songs were already rarely made in Germany (I wrote about this before online). After 1942, the number of the recorded marching tunes was significantly reduced. People in Germany were getting sick of marching and aggressive music due to the development of the war and most families having casualties. However, soldiers' songs were still being made - but mostly as calm, slow pop or waltz songs, usually sang by soothing female voices - which was more suitable for the families in Germany and soldiers at the front.
Niel started becoming popular in the late 1920s. His initial popularity had nothing to do with the NS regime - but with his already popular half-Jewish colleague Ailbout, with whom he worked. But the NS regime did later (mis)use Niel's popularity - and it seems that Niel didn't complain either - and by the time the war broke out he already had several international hits, translated in a couple of languages. There would probably be much more of such widely recognised hits if there wasn't for his involvement in the war propaganda. Niel's style always remained the same (one of the main reasons of his popularity); even in the stiff campaign songs, he always incorporated some jolly folk-motifs; but with the progress of the war, music had to be appropriately adapted as well. Which is why by mid-1941 young Schultze, with his fresh, original and brutal melodies, basically replaced old Niel as the composer of campaign songs (I've never heard of a composer before nor after Schultze who could create such merciless, fanatical war-music; but this tallented composer left only a couple of such pieces behind him and much more of nice and peaceful tunes). Long story short, Niel and many of his works were indeed very much popular (a number of them still are, and are considered traditional German songs), and hardly because of the regime; they were simply incredibly catchy and mostly made in the traditional German spirit.
The most popular war-song of WWII was Niel's "Matrosenlied" (Wir fahren gegen Engelland), which was an instant hit (when he first performed it, Niel was immediately asked for an encore). And the most popular soldiers' love song was Schultze's "Lili Marleen" - but it took two years of war for it to be noticed and to become "in" (it is questionable whether it would ever become as popular in the peacetime). It's interesting that both compositions had lyrics written in WWI.
Cheers,
Ivan
This is a good question which requires probably a bit longer reply and analysis, but I'll try to keep it short for now. There is still much to be written on Niel. "The Song of the Luftwaffe Auxiliary" is basically an unknown song, and without the postcard posted by "Claymore" most people wouldn't even know it ever existed. We still haven't found another source mentioning this piece. It's from the late stage of the war (1943/1944) and at the time military songs were already rarely made in Germany (I wrote about this before online). After 1942, the number of the recorded marching tunes was significantly reduced. People in Germany were getting sick of marching and aggressive music due to the development of the war and most families having casualties. However, soldiers' songs were still being made - but mostly as calm, slow pop or waltz songs, usually sang by soothing female voices - which was more suitable for the families in Germany and soldiers at the front.
Niel started becoming popular in the late 1920s. His initial popularity had nothing to do with the NS regime - but with his already popular half-Jewish colleague Ailbout, with whom he worked. But the NS regime did later (mis)use Niel's popularity - and it seems that Niel didn't complain either - and by the time the war broke out he already had several international hits, translated in a couple of languages. There would probably be much more of such widely recognised hits if there wasn't for his involvement in the war propaganda. Niel's style always remained the same (one of the main reasons of his popularity); even in the stiff campaign songs, he always incorporated some jolly folk-motifs; but with the progress of the war, music had to be appropriately adapted as well. Which is why by mid-1941 young Schultze, with his fresh, original and brutal melodies, basically replaced old Niel as the composer of campaign songs (I've never heard of a composer before nor after Schultze who could create such merciless, fanatical war-music; but this tallented composer left only a couple of such pieces behind him and much more of nice and peaceful tunes). Long story short, Niel and many of his works were indeed very much popular (a number of them still are, and are considered traditional German songs), and hardly because of the regime; they were simply incredibly catchy and mostly made in the traditional German spirit.
The most popular war-song of WWII was Niel's "Matrosenlied" (Wir fahren gegen Engelland), which was an instant hit (when he first performed it, Niel was immediately asked for an encore). And the most popular soldiers' love song was Schultze's "Lili Marleen" - but it took two years of war for it to be noticed and to become "in" (it is questionable whether it would ever become as popular in the peacetime). It's interesting that both compositions had lyrics written in WWI.
Cheers,
Ivan
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Sid Guttridge
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Fallersleben
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Re:
A panoramic photo (2 parts) (15x43cm), taken in Rome.
Source: own collection
Remember the photo from Rome posted by Ivan on page 3. It's the same concert.
Source: own collection
Remember the photo from Rome posted by Ivan on page 3. It's the same concert.
Ivan Ž. wrote: From http://pallas.cegesoma.be/
Der Reichsmusikzug des Reichsarbeitsdienstes in Italien. Unter Leitung des Obermusikzugführers Herms Niel konzertierte der Musikzug des Reichsarbeitsdienstes in einem Lazarett in Rom. 500 italienische Soldaten, sowie viele hohe Offiziere der Gatnison Rom wohnten dieser Feierstunge bei.
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Ivan Ž.
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Thanks for more nice images, F.!
And here's a press report on Niel's Italian tour (not mentioning Rome though), including a retouched version of the portrait photo you posted.
From Deutsche Zeitung in den Niederlanden, 26.10.1940, p. 5 Cheers,
Ivan
And here's a press report on Niel's Italian tour (not mentioning Rome though), including a retouched version of the portrait photo you posted.
From Deutsche Zeitung in den Niederlanden, 26.10.1940, p. 5 Cheers,
Ivan
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Fallersleben
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Re:
From https://www.bridgemanimages.de/de/asset/693042/summaryIvan Ž. wrote: Hollandsch nieuws 43-29, released on 19 July 1943.
Niel and the Reichsmusikzug were filmed holding a KdF concert in the Apollo Hall in Amsterdam (7 July 1943).
Used as soundtrack in the report was Woitschach's 1939 Telefunken (studio) recording of Niel's "Erika" (in slower speed).
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Ivan Ž.
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Re:
My thoughts exactly.GregSingh wrote:Good footage.
So different to his earlier concerts...they all look like at the state funeral. Even Maestro with his cheerful music can't get a smile on anyone face...
However, the concert, which was attended by several thousand spectators, was described as a great success by the press.
From Het volk, 08.07.1943, p. 2 From Deutsche Zeitung in den Niederlanden, 08.07.1943, p. 4 From Het nationale dagblad, 09.07.1943, p. 3
One of the more interesting pieces that Niel performed there was his new song: "Ein Fliegerkuß - ein Bombengenuß"
Cheers,
Ivan
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Ivan Ž.
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Re:
Several press reports on Niel's first concert of his 1942 tour in the Netherlands, held at the Royal Theatre in Heerlen on 27 April. On this tour, Niel played for the first time his Holland Song "Die blonde Rie" (lyrics by C. Hartmann), "Vorwärts! Kameraden!" and "Die Sonne geht auf".
From Dagblad van het Zuiden, 28.04.1942, p. 2 From Deutsche Zeitung in den Niederlanden, 29.04.1942, p. 4 From De Leidsche courant, 30.04.1942, p. 4
Two more photos from the concert can be found here viewtopic.php?f=81&p=2346133#p2346104
From Dagblad van het Zuiden, 28.04.1942, p. 2 From Deutsche Zeitung in den Niederlanden, 29.04.1942, p. 4 From De Leidsche courant, 30.04.1942, p. 4
Two more photos from the concert can be found here viewtopic.php?f=81&p=2346133#p2346104
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