Edvard Grieg – Peer Gynt Suite

Conductor: Herbert von Karajan
Performance: Berlin Philharmonic Orchestra
Recording: September, 1971

I. No.1 Op.46

1. Morning Mood: 0:00
2. Aase’s Death: 4:00
3. Anitra’s Dance: 8:47
4. In the Hall of the Mountain King: 12:33


II. No.2 Op.55

1. The Abduction of the Bride – Ingrid’s Lament: 0:00
2. Arabian Dance: 4:56
3. Peer Gynt’s Homecoming: 9:37
4. Solveig’s Song: 12:21

Der Grosse König / The Great King (1942)

Directed by: Veit Harlan
Written by: Veit Harlan
Gerhard Menzel
Hans Rehberg
Cinematography: Bruno Mondi
Edited by: Friedrich Karl von Puttkamer
Release date: 3 March 1942
Running time: 118 minutes
Country: The Third German Reich
Language: German


Otto Gebühr: Frederick II
Kristina Söderbaum: Luise Treskow
Gustav Fröhlich: Treskow
Hans Nielsen: Niehoff
Paul Wegener: General Czernitscheff
Paul Henckels: Grenadier Spiller
Elisabeth Flickenschildt: Spiller’s Wife
Kurt Meisel: Alfons
Hilde Körber: Elisabeth
Claus Clausen: Prince Heinrich the Elder
Klaus Detlef Sierck: Prince Heinrich the Younger
Herbert Hübner: Count Finkenstein
Franz Schafheitlin: Colonel Bernburg
Otto F. Henning: General von Finken
Reginald Pasch: General Manteufel


Filmed at the height of National-Socialist Germany’s triumph, in late 1940 and early 1941, The Great King was Germany’s most ambitious film to date. Both Goebbels and Hitler were fascinated by Frederick the Great, and had frequently invoked him in their propaganda as a proto-National-Socialist hero, in terms calculated to enhance Hitler’s own prestige and authority. Amidst vividly realized battle scenes, Frederick is shown rallying his armies back from crushing defeat, leading Prussia’s way to brilliant triumph in the Seven Years War. His generals counsel capitulation, and his subjects succumb to despair. But Frederick soldiers on; his strength of will is Prussia’s safeguard and salvation. The film’s concluding montage underscores this message, showing an omniscient Frederick, his gigantic eyes looming over homeland and people, in an unmistakable reference to Germany’s own Führer. Yet what seems most striking about The Great King today are its frank depictions of popular war-weariness and complaint, served up by the everyday Prussians – miller’s daughters and foot soldiers – who foreground the film’s storyline. Otto Gebühr, who had long specialized in Frederick roles on screen and stage, plays the lead; director Harlan’s wife, the inimitable Kristina Söderbaum, the miller’s daughter. Directed by Veit Harlan; music by Hans-Otto Borgmann; featuring Otto Gebühr, Kristina Söderbaum, and Gustav Fröhlich.

Artwork Collection – National-Socialism and Reich

Richard Lindmar (geh. 1867) – Der Tag von Potsdam 21.3.33 (1937)
The Day of Potsdam 21.3.33 (1937)

Adolf Reich (1887-1963) – Die Wollsammnlung in einer Münchener Ortsgruppe (1942)
The Wool Collection in a Munich Local Group (1942)

Constantin Gerhardinger (1888 – 1970) – NS-Gemeinderatssitzung (1941)
NS council meeting (1941)

Hans Jakob Mann (1887-1963) – Die Heimat ruft (1941)
The Motherland is Calling (1941)

Paul Mathias Padua (1903-1981) – Der Führer spricht (1939)
The Führer Speaks (1939)

Josef Vietze (1902-1988) – Wintersachensammlung für die Ostfront in Prag (1942)
Winter Collection for The Eastern Front in Prague (1942)

Adolf Wissel (1894-1973) – Jungmädel (1941)
Young Girl (1941)

Ferdinand Staeger (1880-1976) – Die Werksoldaten
The Factory Soldiers

Rudolf Hermann Eisenmenger (1902 – 1994) – Heimkehr der Ostmark (1941)
Homecoming of Austria (1941)

Elk Eber (1892-1941) – Appell am 23. Februar 1933 (1937)
Appeal on February 23, 1933 (1937)

Hitlerjunge Quex (1933)

Hitler Youth Quex (1933)

Directed by: Hans Steinhoff
Produced by: Karl Ritter
Written by: Bobby E. Lüthge
Screenplay by: Karl Aloys Schenzinger; Baldur von Schirach
Based on: Der Hitlerjunge Quex by K.A. Schenzinger
Music by: Hans-Otto Borgmann
Cinematography: Konstantin Irmen-Tschet
Edited by: Milo Harbich
Release date: 19 September 1933
Running time: 95 minutes
Country: National-Socialist Germany
Language: German


Jürgen Ohlsen: Heini Völker
Heinrich George: The father Völker
Berta Drews: The mother Völker
Claus Clausen: Bannführer Kaß (Brigade Leader Kass)
Rotraut Richter: Gerda
Hermann Speelmans: Stoppel
Hans Richter: Franz
Ernst Behmer: Kowalski
Hansjoachim Büttner: Arzt (doctor)
Franziska Kinz: Krankenschwester (nurse)
Rudolf Platte: Moritatensänger (carnival singer)
Reinhold Bernt: Ausrufer (barker)
Hans Deppe: Althändler (furniture dealer)
Anna Müller-Lincke: Eine Nachbarin Völkers (Völkers’ neighbour)
Karl Meixner: Wilde
Karl Hannemann: Lebensmittelhändler (grocer)
Ernst Rotmund: Revierwachtmeister (desk sergeant)
Hans Otto Stern: Kneipenwirt (bartender)
Hermann Braun
Heinz Trumper


Heini Völker is a teenage boy, living in poverty in Berlin, in a one-room apartment. The year is 1932 – the depth of the Great Depression. Heini’s father, a German Army veteran of the Great War, is an out-of-work supporter of the Communist Party who sends his son on a weekend of camping with the Communist Youth Group. Though his son objects, Herr Völker is adamant and sends him anyway. While there Heini finds the undisciplined revelry of the Communists to be distasteful. There is smoking, drinking, and dancing late into the night. Meals are served by cutting hunks from loaves of bread and throwing them to hungry campers who push to get something to eat. Boys and girls play games where they take turns holding each other down and slapping each other on their private parts. Heini runs away and in another part of the park finds a group of Hitler Youth camping by a lake. He spies on them from a distance, and is amazed at what he sees.

The Hitler Youth are working together to make fires and cook a hot dinner. They sing patriotic songs, listen to speeches, and shout in unison their support for an „awakened Germany”. The Hitler Youth members are disciplined and highly motivated, and there is no smoking or drinking. When they catch Heini watching them, they are suspicious, as they know the communists are encamped nearby, and send him away. Too fascinated to stay away for long, Heini soon returns to the hill overlooking the HJ camp and watches as they get up early and run to the lake for a before-breakfast communal swim. Health, cleanliness, teamwork and patriotic nationalism is the image projected. Heini is so enraptured that he starts to practice marching before reluctantly returning to the Communist camp.

When Heini returns to his home singing one of the Hitler Youth songs, his father beats him and signs him up to become a member of the Communist Party. Heini wants nothing to do with the Communists, but he overhears some of them talking, and informs the Hitler Youth that the Communists are planning to ambush them during a march using guns and dynamite. After some hesitation, the Hitler Youth leadership decides to believe the warning and thus save their members from the ambush. Heini becomes a pariah to the Communists, but the Hitler Youth welcome him, giving him the nickname „Quex“ (Quicksilver) in reference to how quickly he takes action and carries out orders. His distraught mother tries to kill her son and herself by extinguishing the pilot light and leaving the gas on in their one-room apartment at night. She is killed, but Quex survives. His father, crushed by what happened, happens to meet with Quex’s Hitler Youth troop leader, Bannführer Kass, when both men go to see Quex at the hospital. After speaking with Kass and with his son, Herr Völker begins to wonder whether his son is right — National Socialism may be better for Germany than Communism.

A recurring character in the film is the Communist street performer. His theme is that „for some people things work out well… but for George they never do.“ The message is that life in Germany may improve for everyone else, but for the working man, George, life won’t be good unless he joins the Communist Party. The Communists bring George in on a plan to hunt down Quex after all the trouble he has caused the Communist Party. Quex is out alone when the Communists come after him, and though he tries hard to get away, he is eventually cornered and fatally stabbed. Other Hitler Youth members, who came running after hearing Quex’s cries for help, find him too late. Quex dies in the arms of his comrades in the Hitler Youth, and posthumously becomes a hero to the National-Socialist movement.

Heini Völker’s antagonist is the communist youth leader Wilde, „a National-Socialist version of the incarnation of the ‘Jewish-Bolshevik’ will to destruction“. The film’s message is characterized by its final words, „The banner is greater than death“.

Artwork Collection – Cities and Buildings

Erich Mercker (1891-1973) – Putzig near Danzig (1943)

 Georg Friederich (1868-1943) – The Cologne Cathedral on the Rhine (1940)

 Will Tschech (1891-1975) – Winter in the Old Town Dusseldorf (1939)

 Otto Hamel (1866-1950) – St. Stephen’s Cathedral in Vienna (1939)

 Otto Hamel (1866-1950) – Prague (1940)

 Cäcilie Graff-Pfaff (1862 – 1939) – Hohenstaufenburg in Italy (1939)

 Friedrich Schüz (1874-1954) – Salzburg (1943)

 Friedrich Schüz (1874 – 1954) – Danzig – Krantor (1940)

 Friedrich Schüz (1874 – 1954) – Nuremberg (1939)

 Karl Leipold (1864 – 1943) – Meissen with the Albrechtsburg (1942)

 Karl Walther (1905-1981) – Place at the Zeughaus Berlin (1940)

 Cornelius Wagner (1870-1956) – Port of Hamburg (1938)