The Dialectics of Nationalism: Jaromír Weinberger's Schwanda the Bagpiper and Anti-Semitism in Interwar Europe

Abstract This article examines the conception and subsequent reception of Jaromír Weinberger's 1927 opera Schwanda the Bagpiper in the context of various expressions of nationalism, anti-Semitism and Jewish identity politics throughout the interwar period. It takes into consideration the many historical, political and musical junctures before and during the opera's trajectory. While remaining rooted in nineteenth-century Czech nationalism, Weinberger sought to blend a plurality of cultural expressions, thus responding to the transitory state of nationalism during the interwar period. This is evident in the dialectics of the work – including its music, its libretto by Miloš Kareš and the first production. In this way, Schwanda and its divergent reception represents young Czechoslovakia's liminalities in relation to nationalism and the complexities of the new multi-ethnic state, especially with regard to its minorities. The article thus offers insights into the phenomenon of nationalism, which at the time of the opera's conception was inescapably co-constructed with anti-Semitism, and demonstrates Schwanda's importance as part of larger histories of European music and opera.