sep 1, 1850 - "Das Judenthum in der Musick"

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Judaism in Music, written by Richard Wagner under the name of K. Greigedank (Free thought), which madr the claim that Jews, being not merely culturall or religiously but biologically--that is, racially--distinct from Christians, could not contribute to gentile musical traditions but only dilute them. THere could be no such thing as assimilation, only mutulaly corrupting mixture. A Jew might become a Christian by converting, as Mendelssohn had done, but never a true gentile, hence never a true German. The inclusive nationalism from which Mendelssohn benefited during his lietime became an increasingly racialist, exclusive nationalism. A religion may be changed or shed, as a culture may be embraced or renounced; a race, however, is essential, immutable, and organic. A nationalism based on race is no longer synonymous with patriotism. It has become obsessed not with clture but with nature. Thus, for the author of "Judaism in Music", even Mendelssohn's undoubted genius could not save him from what he viewed as teh pitfalls of his race.

The article proposed that the highest level to which Mendelssohn's JEiwsh spirit could aspire and achieve authentic emotional expression was the "soft and mournful resignation"found in his piano pieces, where the author of the article perceived a genuine and mocing response to the composer's own consciousness of his racial inadequacy. He could not write an opera; oratorios--"sexless opera-embryos"--did not make the grade. Finally, the author warned, Germany's acceptance of this musician as in effect its musical rpesident was only teh most obvious sign of the "be-Jewing"(Verjudung) of the nation in teh name of Enlightened liberality. THe Jewish influence would have to be thrown off if the nation were to achieve organic greatness, its heroic destiny.

With such racist contents, thios article would hardly be worth quoting except for three factors that still make it a force to be recognized. In the first place, the article is the most vivid symptom to be found in musical writings of a change in the nature of nationalism that modern historians now recognize as a major crux in teh history of modern Europe. Second, it paints a picture of Mendelssohn that has remained influential even after its motives have been forgotten, owing to the radical opposition it constructs between conservatism (stemming, in this case, from Bach) and revolutionary progressivism (stemming from Beethoven) as historical forces. THis dubious opposition, originating in ugly politics, has nevertheless remained a basic tenet of music historiography and a strong influence on comopsition ever since the middle of the nineteenth century.

Finally, as the author himself revealed in 1869 when the article was reprinted under his true name, "K. Freigedank"turned out ot be Richard Wagner, a fellow native Leipziger, just four years younger than Mendelssohn, who would soon become one of the towering figures in music history. It is in the same article that he attacked Giacomo Meyerbeer. Wagner's words achieved an almost sacred authority for his many followers, and he was, together with Beethoven, probably the most potent single influence on succeeding generations of European composers.

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