Modalities of Assimilation: Subcultural Currents in Felix Mendelssohn's Lieder Ohne Worte

In this article I examine the impact on Felix Mendelssohn's music, as reflected in his Lieder ohne Worte (Songs without Words), of his affiliation with a German-Jewish subculture. To better understand the interrelationship between musical formations and sociocultural realities, I associate the real and imaginary tensions between the German, the Jewish, and the German-Jewish with stylistic ambiguities in Mendelssohn's piano songs, which often destabilize the lyrical simplicity projected by the lieder framework through formal complexities that exceed the narrow scope of the piano miniature. I establish the connections between Mendelssohn's music and sociocultural disposition by identifying a correlation between his so-called stylistic ‘conservatism’ and the anachronistic devotion of German Jewry to the universal ideals of the Enlightenment during the rise of German nationalism. Against this background, I primarily reveal the generic heterogeneity of the Lieder ohne Worte, which feature ‘progressive’ stylistic frameworks associated with the lied traditions yet concurrently point toward the formal ideals of eighteenth-century classicism. And following this, I position the stylistic duality of Mendelssohn's piano songs within a broader context through Heinrich Heine's essay The Romantic School, which sheds crucial light on the negotiation of Jewishness within German culture as it is reflected in aesthetic movements, historical changes, and political climates.