<abstract xmlns="http://www.w3.org/1999/xhtml">

<p>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 <italic>Polacy- -chrześcijanie pochodzenia żydowskiego</italic> [<italic>Poles – Christians of Jewish Origin</italic>] 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 <italic>Wiadomości Literackie</italic> 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”.</p>
<p>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.</p>
</abstract>

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.

Chopin, Polish National Culture and the Question of “Racial Purity”: Zofia Lissa’s Voice in the Debate over Racial Issues in the 1930s

Polski Rocznik Muzykologiczny

This work is licensed under the Creative Commons Attribution-ShareAlike 4.0 International License.

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...

Chopin, Polish National Culture and the Question of “Racial Purity”: Zofia Lissa’s Voice in the Debate over Racial Issues in the 1930s

Publié en ligne: 12 févr. 2022

Pages: 90 - 103

DOI: https://doi.org/10.2478/prm-2021-0001

Mots clés
Fryderyk Chopin, Zofia Lissa, national culture, Polish culture, music and race

© 2021 Andrzej Tuchowski, published by Sciendo

This work is licensed under the Creative Commons Attribution-ShareAlike 4.0 International License.

Chopin, Polish National Culture and the Question of “Racial Purity”: Zofia Lissa’s Voice in the Debate over Racial Issues in the 1930s

Publié en ligne: 12 févr. 2022

Pages: 90 - 103

DOI: https://doi.org/10.2478/prm-2021-0001

Mots clésFryderyk Chopin, Zofia Lissa, national culture, Polish culture, music and race

© 2021 Andrzej Tuchowski, published by Sciendo

This work is licensed under the Creative Commons Attribution-ShareAlike 4.0 International License.

Mots clés
Fryderyk Chopin, Zofia Lissa, national culture, Polish culture, music and race