Karl Klingler

Karl Klingler (7 December 1879 – 18 March 1971) was a German violinist, concertmaster, composer, music teacher and lecturer.

Life

Early years Karl Klingler was born in Strasbourg, at that time in Germany, the fifth of his parents' six recorded children. His father, Theodor Klingler (1845–1905), was a professional viola player who taught at the conservatory there. Klingler began giving concerts at five years of age. In 1897, when he concluded his schooling in Strasbourg, he relocated to Berlin where he was a student at the Berlin University of the Arts (Universität der Künste Berlin, UdK) where, now aged 17, he studied the violin with Joseph Joachim, an inspiring teacher and, very soon, a close personal friend. During the years before the war, he was receiving glowing reviews from the critics, notably in the United States in 1911 for a performance of Beethoven's Triple Concerto with the Welsh cellist Arthur Williams and the Galician pianist Artur Schnabel.

His career was interrupted in July 1914 by the outbreak of the First World War: he was called up to fight as a soldier. Towards the end of the war he was able to transfer to musical work in support of the troops. He arranged regular musical evenings at his house in the Sophienstraße (today the Bellstraße), with fellow musicians such as Korngold, Wilhelm Kempff and Emil von Reznicek. In this way, Klingler had a direct and positive influence on the Suzuki method of violin teaching.

Nazi years Régime change in January 1933 ushered in a new intrusive style of government in Germany. Racism and strident antisemitism which had been a feature of Nazi propaganda during the previous decade were now progressively and rapidly integrated into daily life. Klingler was not naturally drawn towards Nazi attitudes, and in 1933 it was noted at the University of the Arts where he still taught that he did not adopt the habit of exchanging greetings. Klingler received a succession of warnings and threats from Joseph Goebbels, the Reich Ministry of Public Enlightenment and Propaganda, probably backed up by communications from Herbert Gerigk, the top music administrator in Nazi Germany: The Jewish cellist must be replaced. Klingler had actually met Adolf Hitler, albeit briefly, at a musical event set up by President Hindenburg back in March 1934, and now he wrote personally to Hitler, a letter dated 22 November 1934, hoping that the leader would be appreciative of the artistic and German qualities of the Klingler Quartet including its Jewish cellist. Silberstein continued to play the cello in the quartet till its final appearance on 17 March 1936 despite opposition from the Propaganda Ministry, thanks to a succession of "Special Permits" issued by the Reich Chamber of Culture . Nevertheless, between 1933 and 1936 the quartet's performances were greatly diminished in number, and revenues were more precarious than before 1933.

After peace returned in 1918 Klingler resumed the tradition of the Klingler Quartet, now with the second violin parts taken by Richard Heber and playing the cello. Baldner's seat was taken by Francesco von Mendelssohn in 1926. Just like the Joachim Quartet, which on account of the qualities of its tone and style had been identified as one of the best strong quartets in the world, its spiritual successor, the Klingler Quartet, confirmed its own status by producing some of the best recordings of the day.

The Nazi years found another "non-Aryan" in the cellist's seat. On the invitation of President Hindenburg, in March 1934 the Klingler Quartet, including the cellist Ernst Silberstein, performed in the presence of Adolf Hitler. In 1936 Klingler refused to submit to pressure to substitute an "Aryan" cellist for Silberstein, and the now world-famous Klingler Quartet instead "resigned". Karl Klingler's daughter Marianne established the foundation and served as its first president.

The foundation provides a vehicle for presenting Suzuki's underlying precept that children can learn to play the violin if they (1) make an early start, (2) receive tuition based on a better method and received from (3) a better teacher. Furthermore, service to humanity is the highest vocation and the highest objective of artistic endeavour, and the improvement of human society must always lie at the heart of the foundation's goals. There was a break of some years. The sixth competition took place in Berlin at what is now the Hanns Eisler Music Academy: prize winners were the German Kuss Quartet and, from France the Quatuor Johannes and Quatuor Diotima.