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open criticism of their relationship with
Judaism might encourage even those within the Jewish community to fight for their "true emancipation". He argues for the necessity of openly addressing the challenges of assimilating the Jewish people into German culture, not to halt cultural decline through exclusion, but to foster a shared development towards higher human qualities.
288:. Wagner harshly attacks the Hebrew language, speech patterns, and appearance of Jews as aesthetically unpleasing and unsuited for artistic expression. In one metaphor, Wagner suggests that just as worms consume a body after it has died, so do Jews take over a European culture's music after its native vitality has diminished.
245:, Wagner stated that he used a pseudonym "not out of fear, but to prevent the question being dragged down by the Jews to a purely personal level". Ironically, this same letter also reveals Wagner's deep personal antipathy for Meyerbeer as partially motivating the essay, who reminds him of the “darkest” period of his life.
86:, acknowledging its technical proficiency but criticizing it as lacking genuine artistic passion. According to Wagner, authentic art is rooted in immersion within the organic life of a culture, and Jews, indicated as being outsiders to this culture, are capable of only making artificial or superficial contributions.
154:
Wagner's essay primarily attacks Jewish culture, artistic taste, and alleged economic power and commercialism, rather than the Jewish race or religion. In the essay Wagner speaks of the need to emancipate both Jews and non-Jews from "Judenthum". For this reason, alternative translations of the title
480:
Wagner writes of the need for a spiritual awakening for all of humanity to realize their shared "simple, sacred dignity". Only once society has woken up, will there "be no more Jews", not due to their physical eradication, or even loss of their essence due to assimilation, but because such a noble
327:
Seeking to explain to friends the source of the unprecedented hostility towards himself and his artwork by music critics in the press, Wagner republished his essay in 1869 under his own name along with expanded commentary on the original's purpose and reception. Some edits were made to the original
362:
In closing, Wagner appeals to the Jewish people directly, acknowledging the significant talents and virtues within Jewish society and suggesting that the oppression faced by the German spirit under
Judaism is even more burdensome for the Jews themselves. Wagner expresses a hope, albeit faint, that
260:
Wagner’s negative assessment of
Meyerbeer's music was not in isolation, but was in fact in tune with the prevailing critical consensus in Germany at the time, according to which Meyerbeer's works displayed "rhythmic monotony and undue eclecticism, elevating contrived effect above genuine dramatic
256:
and a contemporary, unnamed Jewish opera composer (Meyerbeer) as examples to argue that while Jewish artists may achieve technical proficiency, their works ultimately fail to resonate deeply with the spirit of true artistry. This disconnect stems from an inherent outsider perspective that Jewish
335:
According to Wagner, while the original essay itself was ignored in an effort to stifle the conversation it sought to provoke, critics pivoted to attacking him in other areas, such as his other published art writings and stage works, in a "reverse persecution" by the Jewish intelligentsia which
331:
Wagner defends his use of a pseudonym in the original publication of the essay, having wanted to prevent the discussion from being diverted to personal matters, which he believed would happen if his real name was attached. Despite this, Wagner was soon recognized as the essay's author.
555:
Hitler was known to be an enthusiastic admirer of Wagner's music, and the music was frequently played during Nazi party rallies (along with the music of other German composers) as exemplifying German cultural supremacy. While Hitler owned several of Wagner's
475:
What we don't understand, we attack. And if we end up hurting ourselves in the process, we convince ourselves that it was someone else who hurt us. Who wouldn't see this happening again today when observing the current movement against Jews with this idea in
596:, despite acknowledging its malevolence. However, other scholars argue a more comprehensive consideration of the essay's contents weakens his argument. Music historians have written to debunk the anti-Jewish thesis and arguments appearing in Wagner's essay.
388:
production proceeded, it was enthusiastically received by the Jews in attendance. When Wagner heard this news, he was dismayed at the implication that the Jews had "forgiven" him for having written the "hasty" article, rather than grasped its true purpose.
280:
of Jews. Wagner argues this repulsion needs to be acknowledged and discussed, rather than suppressed and ignored, so once the specific details of its triggering are understood, could steps be taken to resolve the social friction between Jews and non-Jews.
190:
in a series of polemical essays intended to provoke controversy and discussion over the purpose and future direction of
European art. Wagner had a radical mindset at the time, and was formulating what would become his magnum opus, the 16-hour long
572:
Despite the limited impact of the essay's publications on German cultural affairs, it has since served as an important document to understand the nature of Wagner's antisemitic worldview and whether this antisemitism is present in
471:, 1881) that this "madness" arises from within German society itself just as much as Jewish society, though Germans blame their troubles on external elements like the Jews rather than identifying the source within themselves:
107:
in
September 1850. It was republished in 1869, this time bearing Wagner's name, with expanded commentary on the original publication's purpose, response and the purported negative impact on Wagner and his associates' careers.
568:
in 1914, before the Nazis came to power. During the Nazi era there were two further publications: in Berlin in 1934 and in
Leipzig in 1939. Neither of these appear to have been large editions with significant readership.
150:
enterprise. Wagner also intended this latter dual meaning, given the context of the essay in which he uses "Judenthum" almost synonymously with "commercialism"; this usage is also reflected in his personal letters.
248:
In the essay, Wagner criticizes the artistry of Jews. Wagner argues that Jewish participation in
European music represents not a contribution to its enrichment, but rather a symptom of a cultural epoch in decline.
315:(founded by Mendelssohn in 1843) requested that Brendel resign from the conservatory's board. Brendel kept his position. The article was poorly received even amongst Wagner's associates, most notably composer
539:
would not create the serious controversy Wagner sought to provoke until the 1950s and 1960s, when scholars began researching a possible link between Wagner and his works with the philosophy and policies of
371:
Once again many of Wagner's supporters were troubled by the essay's provocation. By this time, Wagner was a well-known public figure and the publication brought many responses in the press. Productions of
77:
It alleges that Jews infiltrated the music industry not through their artistic capabilities, but because of their control over financial resources. In particular it discusses the music of Jewish composers
299:
had a very small circulation, estimated at 1500–2000 readers. Despite Wagner's hoping to create a sensation and open public debate, the response was muted. A single letter of complaint was sent to
454:
in these religions: a delusion blinding society brought on by materialism, greed, and lust for power, which perpetuates human suffering. Wagner would name his final private residence in
585:
in both academia and amongst the opera-going public. With a few controversial exceptions, Wagner has not been publicly performed in what is today the modern state of Israel since 1938.
481:
process will result in the end of division and conflict based on all such superficial identities, with humanity recognizing itself as one. These themes are explored in his final opera
132:" in modern English tends to refer to the Abrahamic religion of the Jews. "Judenthum" however in 19th-century Germany carried a much broader meaning, including the
2110:
2039:
564:
or were even aware of its existence. As the essay was largely regarded as an embarrassment to the early
Wagnerites, there was just one reprint of the essay in
524:, taking it over, expelling Jewish musicians, and transforming it into a theater for the Nazis to subject Wagner's stage works to racist interpretations, with
355:
Wagner argues at length against
Hanslick's "Music Judaism", which includes not just Jewish musicians but any composer who adopts this diluted style. He cites
407:
392:
Despite making his anti-Jewish sentiments publicly known, Wagner enjoyed close friendships with a circle of notable Jews. These included the conductor
359:
as a composer whose youthful and spirited compositions turned superficial and pretentious in later years due to the influence of "Music
Judaism".
1945:
312:
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there will appear an article by me that ardently announces that it will actually be impossible for me to associate myself with that movement.
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movements growing in the late 19th century at the time, positing notions of superior and inferior races which would become the foundation of
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artists have towards European cultural traditions, which prevents them from creating art that genuinely reflects these traditions' spirit.
272:" towards Jews that remains in European society at large despite high-minded liberal social emancipation efforts, and a lack of genuine
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as seeking cheap distractions from their boredom, rather than desiring engagement with a real art that challenges and elevates them.
17:
1991:
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428:, less focused on politics and more concerned with metaphysical and spiritual matters. Heavily influenced by the philosophy of
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Wagner asserts controls the press. This included the significant mocking of himself and Liszt as the "prophets" of the "
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348:. Hanslick's theory of aesthetic beauty based on formal structure, which Wagner derides in his essay as "Jewish", was
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In his later years, Wagner's antipathy towards Jews and "Judenthum" would apparently soften as he became more
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74:, arguing that they have not contributed to its development but have rather commodified and degraded it.
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Despite these sentiments, after Wagner's death in 1883, racialist antisemites such as the British-born
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Despite calls for understanding and reconciliation, the essay is rife with insulting and provocative
186:
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200:, with which he intended to revitalize German art and society, which he perceived to be in decline.
2001:
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have asserted that it is present, but this is strongly disputed by others. The topic remains under
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Rather than needing emancipation from "Judenthum", Wagner notes in his late essay "Know Thyself" (
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In these previous essays, Wagner criticized the perceived shallowness of the then-popular French
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319:, who was embarrassed by the article and thought it to be a passing phase or mere fit of pique.
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344:, who initially supported Wagner but later turned on him around 1854, with his publication of
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From the modern antisemitic movement I stand completely distant. In an upcoming issue of the
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as prized possessions, there is no evidence Hitler and other Nazi leadership members read
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under the pseudonym of K. Freigedank ("K. Freethought"). In an April 1851 letter to
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of the Jews. It also carried a pejorative sense associating Jews with money-making.
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Jewry in Music: Entry to the Profession from the Enlightenment to Richard Wagner
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with Wagner's own theories based on relatively formless passionate expression.
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have sought to make a qualified defense of Wagner's originality of thought in
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211:. Wagner was emboldened to write again on the subject, this time from a fully
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uses the word in this sense, in which he associates Jews intrinsically with
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1032:
Wagner, Richard, tr. and ed. Stewart Spencer and Barry Millington (1978).
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444:, Wagner came to regard the true problem facing humanity as what he called
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perspective, after learning of the great success of Meyerbeer's 1849 opera
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221:, and reading a series of essays written by his close associate
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1046:
Wagner, Richard, ed. Joachim Bergfeld, tr. George Bird (1980).
903:
Fontane, Theodor tr. Hugh Rorrison and Helen Chambers, (1995).
565:
493:
2035:
366:
433:
262:
67:
1076:
Richard Wagner: Dichtungen und Schriften Jubiläumsaufgabe
974:
The Wagner Compendium: A Guide to Wagner's Life and Music
942:
The Darker side of genius: Richard Wagner's anti-semitism
1048:
The Diary of Richard Wagner: The Brown Book 1865–1882
924:Karlsson, Jonas (2013). "Profession and Faith", in
116:There is debate over the translation of the title,
976:, revised edition. London: Thames and Hudson Ltd.
229:as exemplifying inferior "Hebrew artistic taste".
27:Antisemitic work on music theory by Richard Wagner
261:tension". Wagner accuses Meyerbeer's audience in
237:The first version of the article appeared in the
207:, such as that of the celebrated Jewish composer
2062:
1503:Das Judenthum in der Musik (Jewishness in Music)
291:
120:, into English. The article's first translator,
1946:List of films using the music of Richard Wagner
1847:
912:Richard Wagner: The Man, his Mind and his Music
328:1850 text, toning down its offensive language.
232:
2111:Works originally published in German magazines
868:, New Haven and London: Yale University Press.
1936:International Association of Wagner Societies
1547:
1136:
1060:Wagner, Richard, tr. W. Ashton Ellis (1995).
448:: "World-madness", similar to the concept of
888:Richard Wagners 'Das Judentum in der Musik'
854:. Berkeley: University of California Press.
1074:Wagner, Richard, ed. D. Borchmeyer (1983).
528:appearing there often as an honored guest.
367:Reception of the 1869 article and aftermath
1183:
1143:
1129:
1002:Bayreuth: A History of the Wagner Festival
914:. San Digeo: Harcourt, Brace, Jovanovich.
488:That Wagner wanted nothing to do with the
166:The essay was written during his exile in
840:, Cambridge: Cambridge University Press.
340:" in the newspapers, led by music critic
384:had to be delayed. Ironically, when the
378:were hissed, and a Berlin production of
322:
29:
866:Beethoven in German Politics, 1870–1989
496:, is confirmed in his private letters:
14:
2063:
944:. Hanover: Brandeis University Press.
1124:
311:. He and ten other professors at the
939:
34:Title page of the second edition of
2045:
1078:, 10 vols. Insel Verlag, Frankfurt
1050:. London: Victor Gollancz and Co..
962:. Oxford: Oxford University Press.
873:The Third Reich in Power, 1933-1939
531:
307:, from Mendelssohn's old colleague
24:
1150:
1034:Selected Letters of Richard Wagner
66:which criticizes the influence of
25:
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2106:Works published under a pseudonym
1085:
1062:Judaism in Music and other Essays
268:Wagner reflects on an emotional "
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1612:Männerlist größer als Frauenlist
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70:and their "essence" on European
1116:Wagner's music in Israel (2001)
1036:, London: J. M. Dent and Sons.
972:Millington, Barry (ed.) (2001)
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632:Millington 2001, pp. 162–3 and
611:Millington 2001, pp. 162–3 and
89:It was first published under a
2007:Richard Wagner Museum, Lucerne
1363:Die Meistersinger von NĂĽrnberg
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656:
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638:
626:
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375:Die Meistersinger von NĂĽrnberg
13:
1:
2091:Judaism-related controversies
1496:A Communication to My Friends
599:
292:Reception of the 1850 article
111:
986:Rose, Paul Lawrence (1992).
890:. Frankfurt: Insel Verlag .
886:Fischer, Jens Malte (2000).
233:The original article of 1850
134:culture and social practices
7:
1746:Houston Stewart Chamberlain
1703:Bayreuth Festival Orchestra
1163:List of works for the stage
988:Wagner: Race and Revolution
910:Guttman, Robert W. (1990).
852:Wagner:Beyond Good and Evil
510:Houston Stewart Chamberlain
170:after participating in the
155:have been given, including
10:
2127:
1420:Das Liebesmahl der Apostel
1106:Das Judenthum in der Musik
1017:Das Judenthum in der Musik
1000:Spotts, Frederick (1996).
871:Evans, Richard J. (2005).
830:
118:Das Judenthum in der Musik
96:Neue Zeitschrift fĂĽr Musik
44:Das Judenthum in der Musik
36:Das Judenthum in der Musik
2020:
1914:
1878:
1804:
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1718:Richard Wagner Foundation
1673:
1648:
1583:
1540:
1482:The Artwork of the Future
1466:
1393:
1270:
1219:
1176:
1158:
864:Dennis, David R. (1996).
850:Deathridge, John (2008).
346:On the Beautiful in Music
187:The Artwork of the Future
18:Das Judentum in der Musik
2096:Essays by Richard Wagner
2081:Antisemitic publications
1592:Die Laune des Verliebten
1029:, accessed 9 March 2024.
1023:Wagner, Richard (1881).
1020:, accessed 7 March 2024.
1014:Wagner, Richard (1869).
1004:, Yale University Press
770:Dennis, 1996 pp. 142–174
464:: "Peace-from-madness".
2086:Antisemitism in Germany
1997:Wagner-Werk-Verzeichnis
1957:Nietzsche contra Wagner
1891:Richard Wagner Memorial
1886:Richard Wagner Monument
1280:Der Ring des Nibelungen
1228:Der fliegende Holländer
653:Wagner (1987) p. 221-2.
402:in 1882), the pianists
197:Der Ring des Nibelungen
172:May Uprising in Dresden
1708:Bayreuth Festspielhaus
836:Conway, David (2012).
806:Magee, 1988, pp. 17–29
644:Conway (2012), pp. 8–9
506:
478:
143:On the Jewish Question
39:
1969:The Perfect Wagnerite
1563:Ride of the Valkyries
1489:Autobiographic Sketch
1101:(Ellis's translation)
958:Magee, Bryan (1988).
875:, The Penguin Press,
815:Rose, 1992, pp. 78–89
680:Conway (2012), p. 194
588:Some writers such as
498:
473:
323:The 1869 republishing
270:instinctive repulsion
33:
1168:List of compositions
1092:Full text in English
940:Katz, Jacob (1986).
743:Wagner (1987) p. 749
671:Fischer, 2000, p. 30
662:Wagner (1987), p.975
313:Leipzig Conservatory
124:, gave it the title
122:William Ashton Ellis
1901:Wagner Ice Piedmont
1805:Cultural depictions
1796:Eva Wagner-Pasquier
1622:Wieland der Schmied
1524:Music of the Future
1400:Symphony in C major
1026:Erkenne dich selbst
824:Conway (2012), p.9.
698:Conway (2012), 264.
583:considerable debate
577:. Scholars such as
544:, most notably the
469:Erkenne dich Selbst
338:Music of the Future
176:Revolutions of 1848
157:Jewishness in Music
56:Jewishness in Music
38:, published in 1869
1981:Der Ring in Minden
1923:The Case of Wagner
1682:Bayreuther Blätter
1475:Art and Revolution
1394:Non-operatic music
1351:Tristan und Isolde
1108:(1869) – full text
1097:2004-10-11 at the
926:The Wagner Journal
907:. London: Penguin.
502:Bayreuther Blätter
490:racial antisemitic
181:Art and Revolution
140:in his 1843 essay
62:essay by composer
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1698:Bayreuth Festival
1674:Bayreuth Festival
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1636:(1858; text only)
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1626:(1850; text only)
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1584:Unfinished operas
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1440:Wesendonck Lieder
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1434:(1844, rev. 1855)
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960:Aspects of Wagner
896:978-3-458-34317-2
860:978-0-520-25453-4
846:978-1-107-01538-8
558:music manuscripts
516:would descend on
514:Winifred Williams
408:Joseph Rubinstein
254:Felix Mendelssohn
209:Giacomo Meyerbeer
84:Giacomo Meyerbeer
80:Felix Mendelssohn
16:(Redirected from
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1879:Named for Wagner
1848:Film adaptations
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1776:Siegfried Wagner
1761:Katharina Wagner
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126:Judaism in Music
52:Judaism in Music
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2016:
1930:Gesamtkunstwerk
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1896:Wagner (crater)
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1791:Wolfgang Wagner
1786:Winifred Wagner
1741:Eva Chamberlain
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1713:Jahrhundertring
1693:Bayreuth Circle
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1531:Opera and Drama
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1450:Siegfried Idyll
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1331:Götterdämmerung
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1220:Romantic operas
1211:
1177:Complete operas
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1099:Wayback Machine
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990:. London 1992.
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342:Eduard Hanslick
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1906:3992 Wagner
1866:(1982 film)
1858:(1904 film)
1839:(1986 film)
1832:(2012 film)
1824:(1983 film)
1771:Nike Wagner
1661:Wagner tuba
1541:Other opera
1307:Die WalkĂĽre
1184:Early works
1111:(in German)
1080:(in German)
1064:. London.
905:Effi Briest
899:(in German)
779:Evans, 2005
590:Bryan Magee
411: [
404:Carl Tausig
317:Franz Liszt
274:integration
243:Franz Liszt
218:Le prophète
213:antisemitic
205:grand opera
193:music drama
60:antisemitic
2065:Categories
1951:Musikdrama
1649:Inventions
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1517:Mein Leben
1240:Tannhäuser
1056:0575026286
797:Katz, 1986
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436:religions
278:acceptance
227:Le prophèt
148:capitalist
112:Background
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1941:Leitmotif
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461:Wahnfried
386:Lohengrin
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138:Karl Marx
91:pseudonym
72:art music
58:), is an
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1375:Parsifal
1192:Die Feen
1095:Archived
522:festival
518:Bayreuth
483:Parsifal
456:Bayreuth
442:Hinduism
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432:and the
426:humanist
399:Parsifal
1915:Related
1816:(opera)
1510:Leubald
1409:Polonia
831:Sources
350:at odds
130:Judaism
105:Leipzig
93:in the
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