Conway, D.; (2008) Jewry in music: Jewish entry to the musical professions 1780-1850. Doctoral thesis , University of London.

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Abstract

In 1800 hardly any Jews were involved in 'musique savante'. Within 50 years in Western Europe they were to be found in active roles in almost every aspect of the music economy, as performers, composers, publishers, critics and instrument-makers. Whilst this phenomenon has been widely noted, it presently lacks an academic analysis. The dissertation sets the entry of Jews to the musical professions in a number of contexts the political, social and economic circumstances of European states Jewish culture and 'transferable skills' 'emancipation' of European Jews and their entry to wider society reforms in the Jewish religion and liturgy the Romantic and nationalists movements of the era the growth of a music 'industry' and the consequences of developments in technology, changing audiences and patrons, and the emergence of a 'classical music' canon. Beginning with a survey of the principal issues to be discussed and a summary of the status of Jews in music in the early and mid-eighteenth centuries, the dissertation examines the emergence of Jewish musical involvement in five European societies---the Netherlands, England, Austria, Germany and France---and notes the underlying factors, some of which were common to all, some of which were country-specific. Within these surveys extended treatment is given to significant figures---not only the famous such as Mendelssohn, but also the less well-known such as Alkan and Nathan. Consideration is given not only to the activities of Jews in music, but to the 'reception' of these activities by their contemporaries, and to the broader social implications of these activities. The dissertation concludes with a review of the status and achievements of Jews in music in Western Europe on the eve of the publication of Richard Wagner's essay Das Judentum in der Musik' in 1850.

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