Russia fanfare
The fanfare signal for Russia was called the fanfare signal that initiated the special reports of the High Command of the Wehrmacht on German radio in the Second World War since the German attack on the Soviet Union in June 1941 .
origin
The fanfare signal was borrowed from the work Les Préludes by Franz Liszt .
use
At the beginning of the western campaign , a signal was used that came from the song Die Wacht am Rhein and was also called the France Fanfare .
The Russia Fanfare was also played at the end of the song From Finland to the Black Sea . The song was completed on the morning of June 20, 1941, two days before the German attack on the Soviet Union; Propaganda Minister Joseph Goebbels personally supervised the creation of the text and melody. He also ordered the selection and adaptation of the Liszt piece as a signature melody , in which he deleted lyrical elements, simplified the movement and minimized the use of strings in order to emphasize the role of the timpani and thus create a "militant flourish" to reach. The security service of the Reichsführer SS had the effect measured by test listeners in several large cities in the summer of 1940; “The introduction to the Fiihrer's proclamation” with the preludes was “seen as very effective”, even if it was noted that “the downright solemn and solemn chords” took away “the sparkling effect” of the Horst Wessel song . The majestic features of the fanfare were intended to illustrate the importance of the campaign as a world historical event intended by the regime .
See also
literature
- Fred K. Prieberg : Music in the Nazi State. Frankfurt am Main 1982, p. 339 f.
- Hanns-Werner Heister , Jochem Wolff: power and fate. Classical music, fanfares, higher endurance music. In: ders., Hans Günter Klein (Hrsg.): Music and music policy in fascist Germany. Frankfurt am Main 1984, p. 123.
- Volker Mall: Festival music and special news fanfare. In: Neue Musikzeitung , No. 4/1998, p. 24.
Individual evidence
- ↑ Oliver Rathkolb : Notes on contemporary history on the political reception of the “European phenomenon Franz Liszt” during the National Socialist era. In: Liszt today. Report on the International Symposium, Eisenstadt 8. – 11. May 1986 (= Scientific papers from Burgenland . Volume 78). Eisenstadt 1987, pp. 45–55, here p. 51, PDF on ZOBODAT
- ^ Frank Trommler: Conducting Music, Conducting War. In: Nora M. Alter, Lutz Koepnick (Ed.): Sound Matters. Essays on the Acoustics of German Culture. Berghahn, New York 2004, ISBN 1-57181-436-1 , pp. 65–76, here p. 71 .