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Judaism in Music — Richard Wagner
Das Judenthum in der Musik (German: "Jewishness in Music", but normally translated Judaism in Music; spelled after its first publications as ‘Judentum' [1]) is an essay by Richard Wagner which attacks Jews in general and the composers Giacomo Meyerbeer and Felix Mendelssohn in particular. It was published under a pseudonym in the Neue Zeitschrift für Musik (NZM) of Leipzig in September 1850 and was reissued in a greatly expanded version under Wagner's name in 1869. It is regarded by many as an important landmark in the history of German antisemitism.
The original article of 1850
The first version of the article appeared in the NZM under the pseudonym of K. Freigedank ("K. Freethought"). In an April 1851 letter to Franz Liszt, Wagner gave the excuse that he used a pseudonym "to prevent the question being dragged down by the Jews to a purely personal level".
At the time Wagner was living in exile in Zurich, on the run after his role in the 1849 revolution in Dresden. His article followed a series of essays in the NZM by his disciple Theodor Uhlig, attacking the music of Meyerbeer's opera Le prophète. Wagner was particularly enraged by the success of Le prophète in Paris, all the more so because he had earlier been a slavish admirer of Meyerbeer, who had given him financial support and used his influence to get Wagner's early opera Rienzi, his first real success, staged in Dresden in 1841.
Wagner was also emboldened by the death of Mendelssohn in 1847, the popularity of whose conservative style he felt was cramping the potential of German music. Although Wagner had shown virtually no sign of anti-Jewish prejudice previously (despite the claims by Rose in his book Wagner, Race and Revolution,[2] and others), he was determined to build on Uhlig's articles and prepare a broadside that would attack his artistic enemies, embedded in what he took to be a populist Judaeophobic context.
Wagner claims that the work was written to:
explain to ourselves the involuntary repellence possessed for us by the nature and personality of the Jews, so as to vindicate that instinctive dislike which we plainly recognize as stronger and more overpowering than our conscious zeal to rid ourselves thereof.[3]
Wagner holds that Jews are unable to speak European languages properly and that Jewish speech took the character of an "intolerably jumbled blabber", a "creaking, squeaking, buzzing snuffle", incapable of expressing true passion.[4] This, he says, debars them from any possibility of creating song or music. He also states:
Although the peculiarities of the Jewish mode of speaking and singing come out the most glaringly in the commoner class of Jew, who has remained faithful to his fathers' stock, and though the cultured son of Jewry takes untold pains to strip them off, nevertheless they shew an impertinent obstinacy in cleaving to him.[5]
There is little novelty in these ideas, which are largely lifted from the theories of language and speech of the French Philosophes of the 18th century.[6] They also follow on from ideas expressed in Wagner's earlier essay The Artwork of the Future, to the effect that those who are outside the Volk (community) are inimical to true Art.
The music produced by composers such as Mendelssohn, whom Wagner damns with faint praise, is "sweet and tinkling without depth". Meyerbeer, who was still alive at the time of publication, is attacked savagely for his music (and for the fact that audiences enjoy it) but without being expressly named.
The essay is riddled with the aggressiveness typical of many Judaeophobic publications of the previous few centuries. However Wagner did introduce one striking new image, which was to be taken up after him by many later antisemitic authors:
So long as the separate art of music had a real organic life-need in it […] there was nowhere to be found a Jewish composer.... Only when a body's inner death is manifest, do outside elements win the power of lodgement in it -- yet merely to destroy it.
The original article of 1850
The first version of the article appeared in the NZM under the pseudonym of K. Freigedank ("K. Freethought"). In an April 1851 letter to Franz Liszt, Wagner gave the excuse that he used a pseudonym "to prevent the question being dragged down by the Jews to a purely personal level".
At the time Wagner was living in exile in Zurich, on the run after his role in the 1849 revolution in Dresden. His article followed a series of essays in the NZM by his disciple Theodor Uhlig, attacking the music of Meyerbeer's opera Le prophète. Wagner was particularly enraged by the success of Le prophète in Paris, all the more so because he had earlier been a slavish admirer of Meyerbeer, who had given him financial support and used his influence to get Wagner's early opera Rienzi, his first real success, staged in Dresden in 1841.
Wagner was also emboldened by the death of Mendelssohn in 1847, the popularity of whose conservative style he felt was cramping the potential of German music. Although Wagner had shown virtually no sign of anti-Jewish prejudice previously (despite the claims by Rose in his book Wagner, Race and Revolution,[2] and others), he was determined to build on Uhlig's articles and prepare a broadside that would attack his artistic enemies, embedded in what he took to be a populist Judaeophobic context.
Wagner claims that the work was written to:
explain to ourselves the involuntary repellence possessed for us by the nature and personality of the Jews, so as to vindicate that instinctive dislike which we plainly recognize as stronger and more overpowering than our conscious zeal to rid ourselves thereof.[3]
Wagner holds that Jews are unable to speak European languages properly and that Jewish speech took the character of an "intolerably jumbled blabber", a "creaking, squeaking, buzzing snuffle", incapable of expressing true passion.[4] This, he says, debars them from any possibility of creating song or music. He also states:
Although the peculiarities of the Jewish mode of speaking and singing come out the most glaringly in the commoner class of Jew, who has remained faithful to his fathers' stock, and though the cultured son of Jewry takes untold pains to strip them off, nevertheless they shew an impertinent obstinacy in cleaving to him.[5]
There is little novelty in these ideas, which are largely lifted from the theories of language and speech of the French Philosophes of the 18th century.[6] They also follow on from ideas expressed in Wagner's earlier essay The Artwork of the Future, to the effect that those who are outside the Volk (community) are inimical to true Art.
The music produced by composers such as Mendelssohn, whom Wagner damns with faint praise, is "sweet and tinkling without depth". Meyerbeer, who was still alive at the time of publication, is attacked savagely for his music (and for the fact that audiences enjoy it) but without being expressly named.
The essay is riddled with the aggressiveness typical of many Judaeophobic publications of the previous few centuries. However Wagner did introduce one striking new image, which was to be taken up after him by many later antisemitic authors:
So long as the separate art of music had a real organic life-need in it […] there was nowhere to be found a Jewish composer.... Only when a body's inner death is manifest, do outside elements win the power of lodgement in it -- yet merely to destroy it.
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