The question of racial “purity” or “identity” was part of the fashionable discussion on human races in the 1930s. In 1938 a debate over Chopin’s “racial identity” took place in the Warsaw press, triggered by the publication a book entitled Polacy- -chrześcijanie pochodzenia żydowskiego [Poles – Christians of Jewish Origin] by Mateusz Mieses, an outstanding Judaist and representative of one of Poland’s Jewish communities. Mieses’ aim was to familiar-ise the Polish reader with the very little- -known scale on which the ethnically Jewish element had penetrated over the many centuries into the families of the Polish landed gentry, intelligentsia and even aristocracy. As a result, Mieses claimed, many eminent Poles known in Polish history had some Jewish blood in their veins. In addition to the more or less convincing examples of such assimilation, Mieses also quotes some rather dubious ones, including the genealogy of Chopin. On the basis of unconfirmed rumours and the composer’s facial features in some unidentified portrait he claims that Chopin was half Jewish through his mother Justyna Krzyżanowska. Mieses’ conclusions — as well as his entire methodology — were sharply criticised by the reviewer of Wiadomości Literackie as well as by Zofia Lissa, at that time a young scholar at the threshold of a brilliant musicological career. Lissa pointed out that establishing Chopin’s “racial affiliation” is difficult for a lack of reliable and objective sources. For a long time all images of Chopin available to researchers had been either portraits or sculptures, which — as artistic creations — used to deform his face. However, Lissa argued that most of his portraits point to his Dinaric characteristics, which were also confirmed by the two surviving real-life likenesses of the composer (referred to by the author as “racially un-prejudiced” sources) — namely, his death mask and the only surviving daguerreotype. Taking into account the findings of contemporary (mainly German) anthropology, Lissa concluded that Chopin was a typical Dinaric with some Nordic features, and it was from his mother that Fryderyk inherited his few physical traits characteristic of that type. On the other hand, Lissa denied that there was any connection between Chopin’s music and his “racial identity”.
It seems a paradoxical that Lissa — a scholar of Jewish descent — drew on Nazi theories formulated by German anthropologists to show that Chopin had no demonstrable Jewish ancestors. But if we place this debate in the context of its time, and of one specific period in the ideological and scholarly evolution of Zofia Lissa herself — things do not look so simple any more. Her emphasis on the role of the social environment and her rejection of Eichenauer’s theses concerning the impact of “race” on the character of music testify to Lissa’s intensifying links to the Marxist-Leninist ideology, which she most likely began to absorb in that very period.
