Skip to main content Accessibility help
×
Hostname: page-component-77c89778f8-swr86 Total loading time: 0 Render date: 2024-07-23T04:27:07.787Z Has data issue: false hasContentIssue false

2 - Eppes rores: can a Jew be an artist?

Published online by Cambridge University Press:  05 January 2012

David Conway
Affiliation:
University College London
Get access

Summary

Eppes rores

I want to present to you … my best pupil … [He’s] a fine young lad, merry and obedient. Actually, he’s a jewboy [Judensohn], but no Jew. By way of real sacrifice the father didn’t have his sons snipped and is bringing them up on the right lines; it would really be eppes rores [= etwas Rares (something rare), in imitation of Yiddish] if for once a jewboy became an artist.

Thus the twelve-year-old Felix Mendelssohn’s music tutor, the director of the Berlin Singakademie Karl Friedrich Zelter, writing to his friend Goethe in October 1821. Zelter has been accused of ‘poor taste indeed’ in his comments, on the grounds that he was at the time receiving comfortable fees from his pupil’s father and was received by the family as a friend. But the context makes it perfectly clear that, with his own little Jüdeln, he was in his elephantine way writing humorously to Goethe, to whom he was a bosom friend as well as a trusted adviser on music. Whilst his phrases and attitude (perhaps owing something to his earlier parallel career as a stonemason) jar to a politically correct age, Zelter was simply expressing a bemusement that would have been common amongst the artistic elite of his time at a new phenomenon, and indeed a delight at his association with it. Goethe himself had given a sharp and patronising opinion, some fifty years earlier in 1772, of the Poems of a Polish Jew published in German by one Issachar Falkensohn Behr: ‘It is extremely praiseworthy for a Polish Jew to give up business in order to learn German, to polish verses and devote himself to the Muses. But if he can do no more than a Christian étudiant en belles lettres, then he does wrong, we think, to make such a fuss about being a Jew.’ Behr, clearly, fell a long way short of being an artist; his anodyne outpourings were simply derivative. Here in fact we have an early (and exactly comparable) instance of the ‘Morton’s fork’ evaluation of Jews in the arts, which was eighty years later to be couched in its most explicit form by Wagner – either such Jews were academic imitators, like Mendelssohn, or, if they were innovative and successful, like Meyerbeer, they were only in it for the money. Nor should Goethe’s assumption that a Jew must inevitably be ‘in business’ be overlooked – in fact in this case he was not far from the mark; Behr seems to have taken to academic life because his trade goods had been stolen in Königsberg and he had nothing better to do than to inscribe himself at the University.

Type
Chapter
Information
Jewry in Music
Entry to the Profession from the Enlightenment to Richard Wagner
, pp. 15 - 54
Publisher: Cambridge University Press
Print publication year: 2011

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×