The 1869 version and after

For reasons which remain unclear, in 1869 Wagner republished the essay with an addendum as long as the original, and under his own name.

The first part was reprinted as in 1850, with some references toned down, as in the example already given. With a confidence lacking in the original frenetic effort, the second (new) part seeks to contextualise Wagner’s anti-Jewish feelings in the setting of later nineteenth-century German politics, whilst continuing to snipe at the dead Mendelssohn and Meyerbeer and bringing in other dead musicians, including Schumann, on Wagner’s side.

Once again many of Wagner’s supporters were in despair at the provocation. Even Cosima doubted that it was wise. By this time of course Wagner was a well-known figure and the reprint brought many counter-attacks, amongst which may be mentioned: Joseph Engel, ``Richard Wagner, Jewishness in Music, a Defense'' (Richard Wagner, das Judentum in Musik, ein Abwehr); E. M. Oettinger, ``An Open Love-Letter to Richard Wagner'' (Offenes Billetdoux an Richard Wagner, Dresden, 1869); and A. Truhart, ``Open Letter to Richard Wagner'' (Offener Brief an Richard Wagner St. Petersburg, 1869).

However the fuss about the reprint was little more than a storm in a teacup. Far more important, in terms of publicizing Wagner's anti-Jewish feelings, was his stream of essays and newspaper articles over 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.

These coincided with the growth of anti-Semitism—in the sense of a movement to withdraw the civic rights extended to Jews during the 19th century, and particularly on the unification of Germany in 1870—as a significant force in German and Austrian politics. Anti-Semitic leaders indeed made approaches to Wagner requesting his support: although he never offered such support officially, nor did he dissociate himself from their policies.