Kam'raden, die schon anderswo kaputtgeschossenĭie nehmen nun am Blitzkrieg nicht mehr teil The first stanza runs as follows:ĭie Fahne hoch, die Reihen fest geschlossen! Perhaps tomorrow he'll earn millions as a big shot, that brown shite has sod all to do with us').Īnother in a similar vein, anonymous and containing four stanzas, appears in Lammel (1980: 198).Ī five-stanza version concerned with the Russian campaign (therefore post June 1941), put together by Erich Weinert, is grouped by Lammel (1980: 197) under “Soldatenlieder gegen den faschistischen Krieg” (‘soldiers’ songs against the fascist war’).
The street stinks of brown battalions, a mere guard waves to an SA man. Instead of bread and work the Führer gives us only slogans, and whoever says anything lives only a short time. Hitler and Goebbels, our two Volksgenossen, go hungry only in spirit with us proles.Īt the employment exchange the SOS has rung out, every man Jack of us stands ready to receive our cards stamped. ('The prices high, the gob is firmly closed, hunger marches calmly at firm pace. Vielleicht verdient als Bonze morgen er Millionenĭoch das geht uns 'nen braunen Scheißdreck an Und wer was sagt, lebt nur noch kurze Zeitĭie Strasse stinkt nach braunen BataillonenĮin Poestchen winkt dem Sturmabteilungsmann
Statt Brot und Arbeit gibt der Führer uns nur Phrasen Hitler und Goebbels, unsre beiden Volksgenossen Hunger marschiert in ruhig festem Schritt The next, a parody of the complete song, appears in an anti-fascist "Tarnschrift" seemingly printed in Prague shortly after the "Röhm Putsch" in 1934 ( Tarnschrift 1934: 3):ĭie Preise hoch, die Schnauze fest geschlossen Frick, Joseph Goebbels, Schirach, Himmler and cronies, they go hungry as well, but only in spirit'). ('The prices high, the shops tightly closed, poverty marches and we march with it. The parody was recited, not sung.ĭie Preise hoch, die Läden dicht geschlossenĭie Not marschiert und wir marschieren mitįrick, Joseph Goebbels, Schirach, Himmler und Genossen He told me that this was current in his time, particularly towards the end of the war. 1926) of the Golgotha Gemeinde, Berlin Central, on. And Herman Göring, Adolf and buddies, they go hungry with us only in spirit').Ī similar version was tape-recorded by myself from Pfarrer Heinrich Nocke (b. ('The pan high, the fat gets ever dearer, hunger approaches at a frightfully serious pace. Stief 1979: 78):ĭie Pfanne hoch, das Fett wird immer teurerĭer Hunger naht mit furchtbar ernstem Schritt The first is taken from oral tradition in Vechta bei Osnabrück from a priest/vicar, without melody or date (cf. Just like the joke tradition, especially the "dirty" joke or "black humour", and therefore by definition not normally found written down (especially in a dictatorship), parodies would naturally find currency in oral tradition. Official party or state songs can often be the subject of parodies from whatever quarter, especially in times when expectation does not live up to reality. In Western European tradition these often have a military implication of an heroic nature, cf. B uses more dotted rhythms, as in bars 1b, 3b, 5b, and 7b. Bars 6b-8a return to the original pattern.
However, bar 5 has greater movement, with a note on each half-beat. Bar 5 reflects this but with a dotted note of shorter value. Each phrase begins on an anacrusis, leading to a longer note on the first beat in bars 1, 3, and 7. The rhythmic structures are very similar, with only a small modification in B. The final cadence of Ic V I is characteristic of Northern European music from the Baroque period onwards. Bars 3-4 are sequential to bars 1-2, as was implied, but not fully carried out in the melody. It is quite possible to use only the three basic chords of I, IV, and V to harmonise the melody satisfactorily. Bars 4b-6b are characteristically at the highest pitch, and with the final phrase returning to the key note.Īn implied harmonic framework could be sketched as follows: In B bars 2b-3a correspond exactly to the opening and imply a sequential phrase, but 1b-2a and 3b-4a negate this. The pattern of the phrases is typical of the Lied style. The Melody: its structure (insert melodies here)
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