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→Wagner and Anti-Semitism
==Wagner and Anti-Semitism==
==Wagner and Anti-Semitism==
Wagner considered himself a fully assimilated Jew who rejected any notion of Jewish identity, leaving him at odds with Jews in the decades before the founding of the modern [[Zionist]] movement.
Wagner considered himself a fully assimilated Jew who rejected any notion of Jewish identity, leaving him at odds with some Jews in the decades before the founding of the modern [[Zionist]] movement.
After fleeing to Zurich in 1849, Wagner wrote a series of essays, most of them about the "Artwork of the Future" (''Die Kunst der Zukunft'') and what form it would take. He also wrote an essay, published in 1850 under a pseudonym (see [[K. Freigedank]]), which quickly would become infamous. The essay in question was "Jewishness in Music" (''Das Judenthum in der Musik''), and in it he railed against Jews as representing a cancerous influence on German culture, incapable of creating any real art. About Jewish religious music, he wrote "Who has not had feeings of repulsion, horror, and amusement on hearing that nonsensical gurgling, yodelling and cackling which no attempt at caricature can render more absurd than it is?" Specifically, his harshest condemnations were for the most prominent living Jewish composer, Giacomo Meyerbeer.
After fleeing to Zurich in 1849, Wagner wrote a series of essays, most of them about the "Artwork of the Future" (''Die Kunst der Zukunft'') and what form it would take. He also wrote an essay, published in 1850 under a pseudonym (see [[K. Freigedank]]), which quickly would become infamous. The essay in question was "Jewishness in Music" (''Das Judenthum in der Musik''), and in it he railed against Jews as representing a cancerous influence on German culture, incapable of creating any real art. About Jewish religious music, he wrote "Who has not had feeings of repulsion, horror, and amusement on hearing that nonsensical gurgling, yodelling and cackling which no attempt at caricature can render more absurd than it is?" Specifically, his harshest condemnations were for the most prominent living Jewish composer, Giacomo Meyerbeer.