These communiqués, which were delivered to us in the common rooms over little loudspeakers, were introduced by the overture to Bach’s cantata Ein Feste Burg ist unser Gott; but the Wehrmacht used the arrangement by Wilhelm Friedmann Bach, Johann Sebastian’s dissolute son, who had added three trumpets and a kettledrum to his father’s austere orchestration, an ample enough pretext, by my lights, to flee the room each time, thus avoiding being drugged by the flood of lulling euphemisms, which sometimes lasted a good twenty minutes.
