From: Ronald Gillen (gillen@NCONNECT.NET)
Date: Sun Apr 11 1999 - 15:18:56 PDT
General Ideas for using songs
Make a Lückentext
Have students summarize the story
Have students act it out
You act it out
Have students draw pictures of the story or their impressions
zerschnittene Text-Streifen in die richtige Reihenfolge bringen
Date: Fri, 10 Jan 1997 23:43:14 -0600
From: Jan Hart
Subject: You asked for suggestions...
Hello,
I assume you are teaching German as opposed to music. With that
assumption, I would suggest you might want to present your students with
a
list of composers, modern as well as classical, and have them find out
about
the composer and then a favorite song by the composer and its lyrics.
Depending on how tolerant you are, you might let them bring a tape, CD,
or
record in to share with everyone.
You could play various songs and have the students write down the lyrics
they hear. This will be funny, because many students will hear the
lyrics
differently! And,perhaps there will be some words they don't know.
If you have song sheets, the properly transcribed songs can be sung as a
group project and concert for the school. Perhaps GLOBAL AWARENESS
WEEK. (Like Lili Marlene, Mack the Knife, etc. some the kids might know
the
melody and if you co-ordinate with the other foreign language teachers,
you
might include some Spanish or French, and maybe even give some time to
English!)
You could pass out the German lyrics and have your kids translate as
best
they can to English, and you night put in a "ringer" like Lili Marlene
which
already has English lyrics from World War I & II.
==============================================================================
HYMNS AND SONGS OF FASCISM: THE SECOND WORLD WAR - A collection of
Italian
marching songs and popular music from the cataclysmic years
1940-1945. Contents
include: Lili Marlene (the single most popular song of the Second
World War, sung here in Italian)
===============================================================================
MARLENE: a German form of Madeline or a blending of Mary or
Margaret with Lena or Helen. This may be pronounced with
either two or three syllables. Relatives: Marlena, Marleen,
Marline, Marly, Marlie, Marla, Lene, Lena. Namesakes: Marlene
Dietrich, Marla Hansen, "Lili Marlene."
================================================================================
FULL LENGTH IMPORTED CD ALBUMS
All titles are NEW. UK unless stated.
Please use your browser to search this list!! How to Order
MARLENE DIETRICH Lili Marlene 16-trks CD 22.50
====================================================================
Soon after this, he would begin to sing. "Lili Marlene," perhaps, if he
was
nostalgic, or his personal favorite, "Take a Leg from Any Old Table," if
he
was playful. Songs in which love was hopeless or had gone bad and you
either died of it or had expected it to turn out this way all along.
=========================================================================
With reference to Marlene Dietrich, She is probably the best known
singer of Lili Marlene to
we Americans. In Germany however... She started over there as a cabaret
singer and movie
actress. She was established in the US by the time the Nazi's came to
power. The Nazi's asked
here to return to Germany and she responded by becoming a US citizen.
She was not a
favorite of official Germany. Lili Marlene is an extremely important
song to come out of the
North African campaign. It was used by a radio station (Nazi controlled)
in Austria (I think) as
a signoff in the early days of German involvement in North Africa. I
can't recall the singer but I
seem to recall she was Austrian and the recording was a couple years old
and not popular
when released. The legion is that it record was one of three found at
the radio station
(basement) when the German Army moved in. I believe it was Goebels that
ordered the song
not played as he found it to be too melancholy (he wanted inspiring
music). By that time it had
become too popular with the soldiers. The British also tuned into German
broadcasts and they
also found that the song struck a chord. Some officers were frustrated
with their men sing
German songs (in German) and English words were written (Two different
versions seemed to
have been popular. Both were rather similar but not the same.) After the
Americans got to
Africa a third English language version was written (back in the US) and
recorded. This is the
version Dietrich sings. She did sing this song for American troops
during the war.
================================================================================
World Military Music
Il Duce! Available again, the songs and marches of Fascist Italy.
Remastered from original records, includes Giovinezza and even Lili
Marlene in Italian! Cassette 6A0203C $9.95
SS Marches of the SS Finnish Legion (from original recordings, well
known
German songs in Finnish language): Includes Suomi Marssi (Wir Fahren
gegen Engelland), Lisa Pien (Lili Marlene), Asevoikko (Ich hatt' einen
Kameraden) and seven more. Cassette 6A0049C $9.95
1995 Royal Tournament. Massed bands of the Royal Air Force, US Army
Band, French Foreign Legion Band, Russian Army Band in a massive salute
to the 50th anniversary of victory in World War Two. Selections include:
WW2 popular songs, Lili Marlene, Over There, Waltzing Matilda, dozens
more. CD 7B5095D is $18.95
=========================================================================
Easter Sunday Memories
Eiler Ravnholt
Company D, 414th Infantry Regiment
Easter Sunday morning, April 1, 1945, our company, as part of Combat
Command A, had been held up for a day about 25 miles south of Paderborn.
Other elements of the 104th infantry and 3rd Armored Divisions were
securing the flanks prior to the proposed link-up of our spearhead with
the
units of the 9th Army, coming down from the north to complete the
encirclement of the giant Ruhr industrial region.
Before daybreak our Combat Command took off through a forest in a
northwesterly direction. By 8 a.m. we had already advanced some 25 miles
without opposition and entered Giessen, a town lying west of Paderborn.
It
was a very nice spring morning. The residents of Giessen, unaware that
we
were so near, were out in large numbers in their Easter finery enroute
to or
from early morning church services.
Our Section of the Command was halted in the center of the town for some
time as a result of a firefight between the lead elements of our column
and
German units on the far side of Giessen. Wanting to urinate, but not
wishing
to offend the women and children, I entered a nearby "gast haus". There
I
was met by a teenage girl whom I asked, "Wo bist der wasser kloset?
"Ein moment," she said, only to disappear and return shortly with a key
and
pointed to a door. I unlocked the door and entered to find myself
confronted
by two Kraut non-coms in their underwear. They grabbed their lugers—and
handed them to me. I never got my 45 out of the holster, but I had
forgotten
it was April Fools Day. And it wasn’t a "wasser kloset" after all.
The two Krauts, anti-aircraft unit non-coms, quickly got dressed to
leave.
They wanted to take their belongings with them but I said "nein", and
marched them out on the street. By this time I had my 45 out.
Shepherding
them up the street I heard our battalion commander, Lt. Col. Robert
Clark,
bark, "Soldier get those Jerrie’s hands over their heads where the God
damn belong."
With some embarrassment I complied and fortunately soon turned them
over to Headquarters Company personnel. I then returned to the "gast
haus" where, with several of my squad, we went through the soldiers’
belongings, "liberating" anything of interest, including some welcome
rye
bread and sausage and a snap shot of the German sergeant, which I still
have. I also kept the two lugers, one of which had about an 8-inch
barrel. I
gave the remainder of the P.W.’s belongings to the teenage chambermaid
who had arranged their capture, I’m confident, in order to avoid any
problem from harboring German soldiers. They, in turn, were likely
relieved
to be out of the war safely, although subsequent reports of
malnourishment
and ill treatment of the Germans captured in the Ruhr pocket may have
made that relief short lived.
We shortly resumed our offensive dash northwestward toward Lippstadt,
where Combat Command A linked up with elements of the 9th U.S. Army at
about 1400 hours that Easter Sunday, completing the encirclement of some
350,000 German troops.
We billeted in Lippstadt that night, in a house containing several young
German females. They were soon joined by several others who requested
permission to remain with us because they were frightened. I recall the
girls
singing Lili Marlene for our entertainment as we, without concern, again
violated the U.S. Army non-fraternization policy. The following day we
resumed our Eastward advance through badly burned out Paderborn
toward the Weser River.
I don’t know how long that non-fraternization policy was continued, for
10
days later I was evacuated from Company D, by then in the Harz
Mountains,
having come down with a case of Hepatitis A. Knowing that one’s souvenir
pistols would not survive hospitalization, I left them with my buddy,
Authur
Douglas. I never got back to my unit, so the picture of the German
sergeant
is my only souvenir of my "heroic capture" of my enemy during the war.
==========================================================================
"Lili Marlene" was set to music by German composer Norbert Schultze in
1939 (who also
wrote "Bombs on England") from a German poem by World War I German
soldier Hans
Leip who wrote the verse before going to the Russian front in 1916,
combining the name
of his girlfriend with that of a friend’s girlfriend. The song was
heard while being
broadcast to the German Army in Africa and adopted by the British
Eigth Army, with
English lyrics by Tommie Connor. Anne Sheldon's English hit record
(London) started the
songs popularity with the Allied countries. Marlene Dietrich
featured it in public
appearances and on radio while leading records were by Perry Como
(Victor),
Hildegarde (Decca) and Martha Tilton (Coral). Al Martino revived the
song for Capitol
Records in 1968.
===================================================================================
Entertainment
Despite the blackout, there were never so many dances as
there were in
wartime Britain. All servicemen, American Canadian Allied
or British,
were far from home and appreciated female company. Girls
too were
keen to see them entertained. Dresses and outfits were
patched and
renovated, or even conjured up from curtains or other
things. Parachute
fabric was in great demand for underwear. In the absence of
stockings I
have seen legs painted with gravy browning with a line up
the back
skilfully drawn with an eyebrow pencil.
Vera Lynne and other female singers were deservedly popular
with
everyone, and were great morale boosters in the services
and the
factories. Many catchy tunes with good lyrics were
broadcast, and we
were not above borrowing Lili Marlene from the other side.
==============================================================================
Lili Marlene
----------------------------------------------------------------------------
(I can't find where I got this from, but here it is anyway.)
Based on a German poem of 1915, this song became the favorite of
troops of every tongue and nation during the Second World War,
both in translation and in the original German. A curious example of
song transcending the hatreds of war, American troops particularly
liked Lily Marlene as sung by the German-born actress and singer,
Marlene Dietrich
----------------------------------------------------------------------------
Lili Marlene - Original version
Vor der Kaserne vor dem grossen Tor
Stand eine Laterne, und stebt noch davor,
So wolln wir uns da wiedersehn
Bei der Laterne wolln wir stehn,
Wie einst Lili Marleen, wie einst Lili Marleen.
Unsre beide Schatten sahn wie einer aus.
Dass wir so lieb uns hatten, das sah man gleich daraus
Un alle Leute solln es sehn,
Wenn wir bei der Laterne stehn,
Wie einst Lili Marleen, wie einst Lili Marleen.
Schon rief der Posten: Sie blasen Zapfenstreich
Es kann drei Tage kosten! Kam'rad, ich komm ja gleich.
Da sagten wir auf Wiedersehn.
Wie gerne wollt ich mit dir gehn,
Mit dir Lili Marleen, mit dir Lili Marleen.
Deine Schritte kennt sie, deinen zieren Gang
Alle Abend brennt sie, mich vergass sie lanp
Und sollte mir ein Leids geschehn,
Wer wird bei der Laterne stehn,
Mit dir Lili Marleen, mit dir Lili Marleen?
Aus dem stillen Raume, aus der Erde Grund
Hebt mich wie im Traume dein verliebter Mund.
Wenn sich die spaeten Nebel drehn,
Werd' ich bei der Laterne stehn
Wie einst Lili Marleen, wie einst Lili Marleen
----------------------------------------------------------------------------
Lili Marlene - English version
Cheerfully pilfered from English Lyrics
Underneath the lantern by the barrack gate,
Darling I remember the way you used to wait;
'Twas there that you whispered tenderly,
That you lov'd me, you'd always be,
My Lilli of the lamplight,
My own Lilli Marlene.
Time would come for roll call time for us to part
Darling I'd carress you and press you to my heart.
And there 'neath that far off lantern light
I'd hold you tight we'd kiss goodnight,
My Lillie of the lamplight,
My own Lilli Marlene.
Orders came for sailing somewhere over there,
All confined to barracks was more than I could bear;
I knew you were waiting in the street,
I heard your feet, but could not meet,
My Lillie of the lamplight,
My own Lilli Marlene.
Resting in a billet just behind the line
Even tho' we're parted your lips are close to mine,
You wait where that lantern softly gleams
Your sweet face seems to haunt my dreams,
My Lillie of the lamplight,
My own Lilli Marlene.
Hans Leip and Norbert Shultz and Tommie Connor
For more information, see The Saga of Lili Marlene
==============================================================
Lili Marlene
Based on a World War I (1915) German poem by Hans Leip (a German
soldier) and adapted into music by Norbert Schultze, the 1940's hit song
"Lili
Marlene" had several wartime lyrical variations. The English language
version by Tommie Connor is a rough approximation of the theme of the
German song, but not a literal translation of any of German version. The
English version goes, as follows:
Underneath the lantern by the barrack gate,
Darling I remember the way you used to wait,
Twas there that you whispered tenderly,
That you loved me, You'd always be,
My Lili of the lamplight,
My own Lili Marlene.
Time would come for roll call, Time for us to part,
Darling I'd caress you and press you to my heart,
And there 'neath that far off lantern light,
I'd hold you tight, We'd kiss "good-night,"
My Lili of the lamplight,
My own Lili Marlene.
Orders came for sailing somewhere over there,
All confined to barracks was more than I could bear;
I knew you were waiting in the street,
I heard your feet, But could not meet,
My Lili of the lamplight,
My own Lili Marlene.
Resting in a billet just behind the line,
Even tho' we're parted your lips are close to mine;
You wait where that lantern softly gleams,
Your sweet face seems to haunt my dreams,
My Lili of the lamplight,
My own Lili Marlene.
Marlene Dietrich was known to also add these lines:
...When we are marching in the mud and cold,
And when my pack seems more than I can hold,
My love for you renews my might,
I'm warm again,My pack is light,
It's you Lili Marlene,
It's you Lili Marlene...
The usual German rendition, as sung during World War II by the German
singer Lale Anderson, is:
Vor der Kaserne, vor dem großen Tor,
Stand eine Laterne und steht sie noch davor.
So wollen wir uns wiedersehn,
Bei der Laterne wolln wir stehn,
Wie einst Lilli Marlen,
wie einst Lilli Marlen.
Unsre beiden Schatten, sie sehn wie einer aus,
Daß wir so lieb uns hatten, daß sah man gleich daraus.
Und alle Leute wolln es sehn,
Daß wir bei der Laterne stehn,
Wie einst Lillli Marlen,
wie einst Lilli Marlen.
Schon rief der Posten: "Sie blasen Zapfenstreich!
Es kann drei Tage kosten!" -- " Kamerad, ich komm ja gleich!"
Da sagten wir auf Wiedersehn,
Wie gerne wollt ich mit dir gehn,
Mit dir, Lilli Marlen,
mit dir, Lilli Marlen.
Deine Schritte kennt sie, deinen zieren Gang.
Alle Abend brennt sie, mich vergaß sie lang.
Und sollte mir ein Leids geschehn,
Wer wird bei der Laterne stehn,
Wie einst Lilli Marlen,
wie einst Lilli Marlen?
Aus dem stillen Raume, aus der Erde Grund
Hebt mich wie im Traume dein verliebter Mund.
Wenn sich die spaeten Nebel drehn,
Werd ich bei der Laterne stehn,
Wie einst Lilli Marlen,
wie einst Lilli Marlen.
Return to the 314th Infantry Association homepage.
http:/home.earthlink.net/~jwitmeyer/314Reunion/marlene.html
=======================================================================
I'd love to have those days back again!!"
- Troop Sgt. Ronald Tee (56th Recce Reg't, WWII)
Music and Songs of WWII
In this section you will find the lyrics to a number
of
songs sung by British soldiers in WWII, plus a
collection of all the audio clips, (midi's), that I
have
chosen for this website.
Also you will find a link to Ron's own music
memories.
I will be adding more song lyrics and midis in the
near future. To read the lyrics or hear the music,
click on the following:
D-Day Dodgers
(To the tune of "Lili Marlene")
Note - This song was written by some soldiers of the 8th
army in retaliation to Lady Astor for her insulting
comments regarding them. They had fought their way
from Africa to Sicily and up into Italy without relief and
the resulting discontent is evident in the sarcasm of the
following song.
We are the D-Day Dodgers, out in Italy,
Always on the vino, always on the spree.
Eighth Army skivers and their tanks,
We go to war in ties like swanks.
For we are the D-Day Dodgers, in sunny Italy.
We landed at Salerno, a holiday with pay.
Jerry brought his bands out to cheer us on his way,
Showed us the sights and gave us tea,
We all sang songs, the beer was free.
For we are the D-Day Dodgers, the lads that D-Day
dodged.
Palermo and Cassino were taken in our stride,
We did not go to fight there, we just went for the ride.
Anzio and Sangro are just names,
We only went to look for dames,
For we are the D-Day Dodgers, in sunny Italy.
On our way to Florence, we had a lovely time,
We drove a bus from Rimini, right through the Gothic
Line,
Then to Bologna we did go,
And went bathing in the River Po,
For we are the D-Day Dodgers, the lads that D-Day
dodged.
We hear the boys in France are going home on leave,
After six months service such a shame they're not
relieved.
And we're told to carry on a few more years,
Because our wives don't shed no tears.
For we are the D-Day Dodgers, out in sunny Italy.
Once we had a "blue light" that we were going home,
Back to dear old Blighty, never more to roam.
Then someone whispered:'In France we'll fight,'
We said: 'Not that, we'll just sit tight,'
For we are the D-Day Dodgers, the lads that D-Day
dodged.
Dear Lady Astor, you think you know alot,
Standing on a platform and talking tommy rot.
Dear England's sweetheart and her pride,
We think your mouth is much too wide -
From the D-Day Dodgers, out in sunny Italy.
Look around the hillsides, through the mist and rain,
See the scattered crosses, some that bear no name.
Heartbreak and toil and suffering gone,
The lads beneath, they slumber on.
They are the D-Day Dodgers, who'll stay in Italy.
==================================================================
Movement-based theatre has never been hotter!
That's one reason the CBT is thrilled to announce
the North American premiere of Lazslo Marton's
dazzling dance play. Spanning the years from
1920 to the present, the production weaves the
seventy-year history of its characters with the
music that was popular during these turbulent
decades. For those who swayed to "Lili Marlene"
in the twenties to those who boogied with "Rock
Around the Clock" in the fifties and beyond, Dance
In Time is a stirring tribute to life.
"The opening night audience loved it: the
darkness of history was balanced with sharp
dancing and rollicking Western music...
beautiful...
rousing performance."
- New York Times, on the play's European
premiere
=========================
Tim Merry wrote:
>
> Sinclair, Sieg und heil!
>
> Thank you, Kamerad, for making it 2:1 in favour of WWII.
>
> I don't know what Zapfenstreif is either, but since bliesen looks
> like the past tense of blasen (to blow, as in bugle); and since
> Zapfenstreich (streich/streif?) means a retreat (among other things),
> this could mean 'they've sounded Retreat', which may be a way of
> saying - if you're still outside the barracks you're AWL (or AWOL)!
>
> Someone must know the words to the whole song, and someone must be
> able to translate into English - or even english.
>
> Tim