Daniel Deronda · Character

Klesmer

A magnificent, brow-knitting German-Jewish musician whose blunt judgments can crown a singer with praise or quietly consign her to private drawing-rooms.

supporting

Also known as Herr Klesmer, Julius Klesmer, the unconquered Klesmer

First appearance: VI

As a supporting figure in Daniel Deronda, Klesmer is not background color—the story leans on what they do once the chapter opens.

A renowned musician staying at Quetcham Hall; he critiques Gwendolen's singing, asserting his artistic superiority.

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Klesmer arrives at the Meyricks' little parlor like a force of nature, stretching out his long hand to declare Mirah 'a musician' and then warning her, 'We are no skylarks.' His honesty is both gift and gate: he opens professional doors for Mirah while refusing to flatter, and his pronouncements carry the weight of genuine artistic authority. He matters because he represents the novel's standard of real vocation, against which Gwendolen's dilettantism and the drawing-room world's pretensions are measured.

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See Klesmer in VI

Narrative arc

Story tension across the book — this chapter sits in Exposition.

Setup
Escalation
Breaking point
Aftermath
Closing

In this chapter, the emotional and psychological peak occurs when Deronda receives Hans Meyrick’s letter, whic…

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In the story

Klesmer appears across 8 companion beats. Open any chapter in the free preview to see the notes beside the text.

V
A renowned musician staying at Quetcham Hall; he critiques Gwendolen's singing, asserting his artistic superiority.
VI
Klesmer is the musical Magus who has widened Gwendolen's horizon and is frequently between London and Quetcham.
Chapter XI
Dances with Gwendolen, criticizes her words and jokes, discusses wit and humor, and identifies Mr. Lush as an amateur fond of Meyerbeer and Scribe.
Chapter XXI
The musician to whom Gwendolen writes a letter requesting advice on her future course of action.
XXII
Receives Gwendolen's note, leaves Quetcham after declaring his love for Catherine Arrowpoint and facing her parents' opposition.
XXIII
Delivers a frank critique of Gwendolen's artistic prospects; reveals his engagement to Miss Arrowpoint and offers to help Gwendolen with training.
Chapter XXXIX
Visits the Meyrick home to hear Mirah sing; offers a professional assessment of her voice, praising her musicianship but advising against a stage career.
XLV
Klesmer plays the piano and later praises Mirah's singing.

Chapter companion notes

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See Klesmer in VI

See Klesmer in V