0000002806 00000 n Karlsson, Jonas (2013). Among the contributing factors may be the death of his ‘enemy’ Meyerbeer in 1864, Wagner's own relative security under the patronage of the King of Bavaria, and increase in his personal confidence now that his Ring cycle was under way and he had completed his operas Tristan und Isolde and Die Meistersinger von Nürnberg. Das Judenthum in der Musik. Wagner, Richard, ed. [39] Jonas Karlsson has commented "Admittedly [Conway's book] comes some hundred years too late as a reply to Wagner, yet in its form it may nevertheless be one of the most effective replies imaginable". Hochverehrte Frau ! 0000006408 00000 n This page was last edited on 21 September 2020, at 17:13. Joachim Bergfeld, tr. Before the Nazi period there was just one reprint of the essay itself, in Weimar in 1914. [35] Germans of the Nazi era, even if they knew nothing about music and nothing of Wagner's writings, were presented with a clear image of Wagner as a great German. This translation has seemed unsatisfactory to some scholars. Wagner, Richard, ed. Wagner then goes on to refer to Börne, a Jewish writer and journalist who converted to Christianity. [12] Virtually the only response was a letter of complaint to Franz Brendel, the editor of NZM, from Mendelssohn's old colleague Ignaz Moscheles and ten other professors at the Leipzig Conservatory, requesting that Brendel resign from the Conservatory's board. Wagner's daughter-in-law, Winifred Wagner, (who never met the composer), was an admirer of Adolf Hitler[36] and ran the Bayreuth Festival of Wagner's music from the death of her husband, Siegfried, in 1930 until the end of World War II, when she was ousted. 'Das Judenthum' is not quoted or mentioned by early writers on Nazism in the 1950s such as Hannah Arendt; the interpretation that he intended murder was never attributed to him before the Nazi policy of physical extermination. 0000001906 00000 n [33], Adolf Hitler presented himself as an admirer of Wagner's music, and is said to have claimed that "there is only one legitimate predecessor to National Socialism: Wagner". 'Judentum' however in 19th-century Germany carried a much broader meaning—roughly analogous to the nonce English word 'Jewdom' (cf. A scholarly critical edition, with background material and contemporary comments, was prepared by Jens Malte Fischer in 2000. Christendom) and including the concept of the social practices of the Jews. Notwithstanding his public utterances against Jewish influence in music, and even his utterances against specific Jews, Wagner had numerous Jewish friends and supporters even in his later period. In fact the 'Ahasuerus' Wagner may have had in mind was a character from a play (Halle und Jerusalem) by Achim von Arnim, a 'good' Jew who voluntarily sacrifices himself saving other characters from a fire.[29]. In this context some have suggested that Wagner's advice for Jews to 'go under' 'like Ahasuerus' was intended as a call for their extermination, as planned by the Nazi regime, but there is no justification for this. For reasons which remain unclear, in 1869 Wagner republished the essay with an addendum as long as the original, and under his own name. 0000003108 00000 n 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. and ed. This also suggests another possibility as a source for the name, the anti-Jewish, See, for example, Spotts, 1996, pp. [15] Although Wagner's personal letters contain occasional jibes about Jews and Judaism, there was no suggestion over future years that he was likely to return to the attack or revive his earlier anonymous article. But bethink ye, that only one thing can redeem you from your curse; the redemption of Ahasuerus — Going under![11]. Seite:Wagner Das Judenthum in der Musik 1869.pdf/48; View more global usage of this file. 0000001989 00000 n 237 0 obj << /Linearized 1 /O 241 /H [ 1205 344 ] /L 74272 /E 6781 /N 14 /T 69413 >> endobj xref 237 24 0000000016 00000 n 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. Interest in the work seems to have revived in the 1960s with new awareness of the Holocaust following the Eichmann trial. An intriguing possibility is that, having received his mother's correspondence (which he subsequently burnt) from his sister in 1868, he discovered that his biological father was the actor and musician Ludwig Geyer, and feared that Geyer was Jewish (which he was not) and that he himself might be Jewish as well. "Das Judenthum in der Musik" (German for "Jewishness in Music", but normally translated Judaism in Music; spelled after its first publications, according to modern German spelling practice, as ‘Judentum’) is an essay by Richard Wagner which attacks Jews in general and the composers Giacomo Meyerbeer and Felix Mendelssohn in particular. A public performance in Tel Aviv in 2001 of Wagner's prelude to Tristan und Isolde, conducted as an unprogrammed encore by Daniel Barenboim, left its audience partly delighted, partly enraged. (1850.) Wagner, Richard, tr. However, in his notebook for 1868 (known as the 'Brown Book') there appear the ominous words "Consider Judentum. Metadata. 0000003851 00000 n 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. Neither of these seems to have been a large edition. Fischer has found no significant critical comment on the essay. Far more important, in terms of publicising Wagner's anti-Jewish feelings, was his stream of essays and newspaper articles over the following years, up to and including that of his death in 1883, which directly or indirectly criticised Jewish individuals or the Jews as a whole. If the file has been modified from its original state, some details may not fully reflect the modified file. 0000006201 00000 n 0000002246 00000 n During the Nazi period there were just two publications: in Berlin in 1934 and in Leipzig in 1939. He also points to the new ending that Wagner added to Das Judentum in der Musik when it was republished - this time with his own name on the title page - in 1869. He tells Jews to follow his example, recommending that they follow Börne by helping to "redeem" German culture by abandoning Judaism.

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