David Kellner
A Biographical Survey
By
Stockholm, Sweden 1997
2009-12-01
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Introduction
David Kellner's fame rests on his thorough-bass treatise
Treulicher Unterricht im General-Bass. . . (Hamburg, 1732) and his lute
tablature book XVI auserlesene Lauten-Stücke. . . (Hamburg, 1747). The
Treulicher Unterricht went through no less than eight German editions from 1732
up to 1796, two Dutch, one Swedish and one Russian. Several copies of the
different editions are to be found in libraries around the world indicating the
impact Kellner's thorough-bass treatise must once have had. Of his lute book,
on the other hand, only two copies seem to be extant. A few of his lute pieces
are to be found in manuscript sources. The XVI auserlesene Lauten-Stücke was
furthermore one of the last tablature books to be published. In spite of all
this not much has been known about David Kellner's life and even if he is
mentioned in most musical dictionaries the information given is often
rudimentary and sometimes incorrect. Only two musicologists have paid any
attention to him: Elwyn A. Wienandt and Gun Fridell. Their work, however,
concentrates on Kellner's music and thorough-basstreatise and not on his
biography, a subject which will be the principle object of this article.(1)
Place of Birth and Family
David Kellner was born in a small village, Liebertwolkwitz, situated about
To get a proper background to David Kellner's youth it is
necessary to describe briefly the lives of his brothers. Philipp and Christian
went to Leipzig where they registered as students at the university: Philipp in
1677 and Christian in 1679. Christian's studies did not last long and already
on 7 October 1680 he was appointed organist at the cathedral of Turku
in Finland, then a Swedish province. Accordingly, Christian by then must have
been a competent musician. Philipp may have stayed longer in Leipzig, but some
time before 1682 he moved to Tartu [Dorpat] in
another Swedish province, Livonia (today Estonia and Latvia). At first he
worked as a "Notarius" [clerk]. Between 1682 and 1691 he was a member
of the council of Tartu and a few years later, in 1693, he was appointed
"Stadtsecretarius" [secretary to the council], a post he held until
1708. Some unconfirmed information states that he was organist in Tartu before
1693. Around 1682 he married Anna Catharina, the daughter of the mayor Matthias
Ladou. In 1704, during the Great Northern War, the Russians conquered Tartu and
four years later Philipp was brought to Russia where he stayed until 1713 when
he returned to Tartu and his post as secretary. He seems to have adjusted
himself quickly to the new rule and in 1719 he was appointed mayor of Tartu. He
stayed at this post until his death in 1728. Johann Kellner was to follow
Philipp to Tartu. On 21 August 1691 Johann became burgher of Tartu as a grocer,
a profession he combined with that of unlicensed chemist. Shortly before, on 12
August the same year, the chemist Gottfried Hasenfelder complained that his
apprentice Johann Kellner sold drugs without permission. But Johann became a
citizen of good esteem: senior of the "Grosse Gilde" [the Great
Guild] in 1698 and a member of the town council between 1703 and
David Kellner in Turku and Tartu
David Kellner must have left Liebertwolkwitz before
On 27 June 1694 David Kellner registered as a student at the
"Academiæ Dorpatensis" or, as it also was called, "Academia
gustaviana carolina" in Tartu. The registration was made in his own hand,
"David Kellner, Libertwolwicensis Misnicus", and under the
"rectore" Sven Caméen. As I have noted earlier David's two other
brothers, Philipp and Johann, were both living in Tartu at this time. On 15
September 1694 David Kellner applied to the academic senate for a scholarship,
but without success. The application is still preserved and it is written in
Latin, which indicates that Kellner mastered this language. This also was a
prerequisite to be able to study at the university. The university of Tartu was
founded in 1632 by the Swedish king Gustavus Adolphus II. It was destroyed by
the Russians in 1656, but was re-established in 1690 with high ambitions.
Learned and competent Swedes were appointed as professors and the university
had both a teacher in French and a dancing- and fencingmaster employed. The
university had difficulties in recruiting students: only 21 registered in 1694.
On 21 September 1694 Kellner applied for the post as "advocatus"
[lawyer] at the council in Tartu, perhaps due to the fact that he failed to
receive the scholarship. The records give no information whether he got the
post or not, but it seems likely that he didn't and instead pursued his studies
at the university. No particulars are known about these except that the
"rectore" under which he had registered, Sven Caméen, was professor
of history and geography. Maybe he also studied at the faculty of "poesos
et eloqventi'" led by the distinguished professor Olof Hermelin. This may
be supported by the fact that Kellner in 1694 held a Latin oration with the title
"Injustitia Judicum Christi". Later in life he also showed a poetical
inclination. Considering his future profession as a lawyer and a judge-advocate
Kellner may also have studied at the faculty of law under the professors Carl
Lund and Olof Hermelin. The theoretical studies at this facultywere often
combined with attending the legal proceedings at the Livonian court of appeal
in Tartu.(4)
Unfortunately we only have a few glimpses from Kellner's life as
a student in Tartu. They are recorded in the minutes of the academic senate and
they concern quarrels between students and soldiers and between students
themselves. Kellner's role was that of a witness in two trials which took place
on 25-27 October 1694 and in April 1695. These minutes say very little about
Kellner aside from the fact that he seems to have taken active part in student
life. One of the trials at least indicates that some of the students were
trained by the musician Walter Bökman, and as the university stimulated
music-making among the students we may suppose that there must have been
several opportunities for Kellner to show his skills in that art. Beside that
we have only one source which gives information about Kellner's relation to
music. The records of the Livonian consistory, dated December 1696, tell us:
"David Kellners Supplic, wegen des gesuchten Organisten dienste bey dem
Schwedischen Kirchen verlesen, ward dem Pastori... communiciret" [David
Kellner's supplication concerning the post as organist at the Swedish church
was read and the vicars were informed]. However, the records of the Swedish
church of St Mary's are lost and no further information is available.(5)
Kellner's poetical talent was for the first time reflected in an
elegy titled Klag- und Trost-Gedicht. . . (Tartu, 1697) written and printed in
connection with the funeral of the baroness Christina Elisabeth Taube, wife of
the governor of economy in Livonia, Gustavus Adolphus Strömfelt. Kellners elegy,
dated 11 January 1697, is written in the spirit of the time and thousands of
similar occasional poems from the Swedish Age of Greatness are preserved. As a
rule these elegies were divided into two parts: a "meditatio"
[edifying] and a "laudatio" [biographical]. In the laudatio-part the
poets often went to excesses in eulogizing, but in 1686 the Swedish law of the
Church decreed that the these elegies should be performed or written without
lengthy or idle praise. Consequently Kellner's elegy only has a meditatio-part
and no biographical elements whatsoever. His printed elegy may have been
distributed and recited in connection with the funeral service in the cathedral
of Tartu.
On 11 February 1697 Kellner was appointed "Advocatus"
[lawyer] and deputy city prosecutor. His post as a lawyer was at the
"Landesgericht" [district court], which was the court of first
instance concerning common pleas. One of the four district courts of Livonia
was situated in Tartu. In the minutes of the district court we find a few
supplications from "advocatus" David Kellner. Later in the same year,
on 5 April, the Swedish king Charles XI died and Kellner again got an
opportunity to show his poetical inclination, this time in a versified oration,
"Vom höchstschmerzlichen Absterben des Glorwürdigen Königes Caroli
XI" [Concerning the poignant death of the glorious king Charles XI]. In
Tartu, as well as in other parts of Sweden, a lot of arrangements were made to
express the sorrow over the death of the king and Kellner's oration was a
worthy contribution.(6)
On 14 June 1697 Kellner became burgher of Tartu as lawyer at the
district court. Later in the same year, on 31 September, he married Dorotea
Schwarz in the German church of St John. Dorotea was daughter to the mayor
Matthias Ladou and consequently sister to Catharina Ladou, Philipp Kellner's
wife. Dorotea had earlier been married to the "Militiæ Auditeur" and
the city prosecutor Friedrich Schwarz, who had died about
In
It was primarily as an occasional poet and not as a musician that
Kellner was known during his stay in Livonia. His poetical works had earned him
some fame as he is mentioned in Daniel Eberhard's Dorpatum in Livonia
literatum. . . (Tartu, 1698). In
den förre Organistens Christian Kellners Broder David Kellner benämnd hwilcken af organisten vid dom kyrckian i Refle berättes wara i sådan konst wähl förfaren. . . [the brother of the former organist Christian Kellner, David Kellner by name, who by the organist in the cathedral in Tallinn is told to be in that art experienced. . .]
However, as Gezelius states in his letter, David Kellner didn't
get the post as organist in Turku. This may have had serious consequences for
him as he had to spend the next ten years of his life in military service.(9)
". . . spent the best years of his youth at war. . ."
In 1700 the Great Northern War broke out and Livonia was its
first battlefield. King August II of Poland-Saxony attacked Riga and several
Livonian regiments, batallions and squadrons were raised. This was done by
enlistment, equestrian service or militia. Colonel Magnus Wilhelm Nieroth was
in Tartu in 1700 to enlist men for his Livonian infantry regiment. Among the
enlisted men was David Kellner. On 9 May 1701 the Swedish king Charles XII at
his headquarter at the castle of Lais signed a letter of appointment thus
making Kellner "auditor" of Nieroth's regiment. In the same year the
regiment was transferred to Tallinn where it was garrisoned. The period in
Tallinn was rather peaceful as the warfare mainly occurred in the southern part
of Livonia. On 9 July 1701 Charles XII and his army crossed the river Düna and
put the Saxons to rout. This victory was commemorated by Kellner in a
complimentary poem titled Untherthänigste Freuden Bezeugung. . . (Tallinn,
1701). In the poem Charles XII is compared to Alexander the Great and Mars, the
god of war. Another complimentary poem by Kellner, Freuden-volle Betrachtung. .
. (Tallinn, 1702), concerned Charles XII's victory over August II on 9 July
1702, probably at the battle of Klissow.
During his stay in Tallinn Kellner also worked as organist at the
Niguliste (St Nicolaus) church between May 1701 and July 1702. From a document,
signed by Kellner himself, it is clear that he replaced the deceased organist
Bartholomäus Busbetzky. A much later document, from 1711, may also refer to
this: David Kellner som. . . iämwähl uti Liffland warit organist. . . och gedt
witnes börd om sitt förhållande wid organisttiänsten uti Liffland til alles
nöije. . . [David Kellner, who likewise has been organist in Livonia and has
given testimony of his conduct towards the office of an organist to the
satisfaction of everybody] Possibly Kellner followed Nieroth's regiment when,
in the midst of 1702, it reinforced the Livonian army under the command of
general Wollmar von Schlippenbach. If this was the case Kellner must have
witnessed the horrors of war more directly as this army was involved in battles
with the Russians in the southern part of Livonia. The army of von
Schlippenbach was thoroughly defeated at Sagnitz and Hummelhof in July 1702.
The Livonian army was reduced by a half and this defeat laid the foundation of
the Russian conquest of Livonia. The remains of the Livonian army were
reorganised and gathered at Pärnu. Nieroth's regiment, or what was left of it,
returned to Tallinn in 1703 and with it possibly also Kellner.(10)
Until 1 August 1704 we know nothing concerning Kellner's
whereabouts, but on this particular day he was appointed quartermaster at the
newly raised and enlisted Livonian batallion of Johan Fredrik von Liphardt.
This consisted mainly of peasant militia and trainband. As a quartermaster
Kellner had become an officer and according to the marching order of 1696 the
quartermaster was supplied with two man-servants, one saddle-horse, two
baggage-horses and a daily allowance of 16 half-farthings in silver. Not much
is known about the doings of von Liphardt's batallion, but von Liphardt himself
was captured on 1 September 1705 and possibly the batallion was disbanded after
that. Another gap in our knowledge about Kellner concerns the period until
At this time Georg Lybecker had been appointed governor and
military commendant in Vyborg. In 1708 soldiers, burghers and peasants were
busy reinforcing the fortifications and simultaneously a campaign against
Ingria, a Russian province situated between Finland and Estonia, was planned.
There were many difficulties. The officers could not get their full salaries
and many of them were forced to run into debt. They did not even have enough
money to equip for the planned campaign which could not start until August
1708. That Kellner took part in the Ingria campaign is clear from a letter,
dated 21 June 1739, he wrote to the Crown in council. The campaign had
difficulties from the beginning. A violent rain lasted for two weeks and the
army did not advance more than two kilometres a day. There was a lack of stores
and this situation aggravated as the campaign continued, but there was not much
resistance from the Russians and the Swedish army was able to cross the river
Neva. This crossing was on the whole the only success the Swedes could record
during the whole campaign, which became a complete failure. The rest of it was
directed towards a rescuing of the army from the threat of disaster. At the
beginning of October 1708 the army had arrived at Kolkanpää in order to be
shipped across the Gulf of Finland to Björkö, south of Vyborg. The Russians
attacked at Kolkanpää and Lybecker's army only just escaped in time. After its
arrival at Björkö the army marched back to Vyborg. Kellner describes in his
letter how he lost all his "equipage" and that all his other property
was stolen.(11)
Kellner was surely back in Vyborg before 25 May 1709. Shortly
before this date a conflict took place between him and the comptroller of the
commissariat, Johan Schmidt. The conflict is thoroughly documented and as the
incident throws some light on Kellner's personality it deserves to be
recapitulated. As a quartermaster Kellner's task was to provide his batallion
with different necessities. One of these was tobacco and it was this luxury
that provoked the conflict, which was to engage the court martial, several
officers, the governor and even the Crown in council. Schmidt had given out a
consignment of tobacco to Kellner from the storehouse at the castle of Vyborg
and it was probably intended for the Saxon batallion. However, according to
Kellner "tobacket warit rutet wådt och nästan odugeligt" [the tobacco
was rotten, wet and almost useless] and he wanted to return the consignment and
instead receive the same quantity from the tradesman Frisius in Vyborg. Schmidt
was not willing to accept that as he claimed that the returned consignment had
lost some of its original weight. Kellner became upset and after some squabble
they came to fighting. Kellner accused Schmidt for having used forged weights
and measures and he referred to other similar cases. This was a serious
accusation and the case was handled by the governor Lybecker. From Nieroth and
von Straelborn Lybecker requested their opinions about "ein unruhiger
mensch namens David Kellner" [this troublesome person David Kellner by
name]. Nieroth's opinion was negative: Kellner had behaved improperly and he
had written libellous pamphlets against honest people in Tartu. Of von
Straelborn's statement we only have a fragment, but not even he was interested
in justifying his quartermaster. Between 12 July and 14 July an interrogation
was held, but in a letter Kellner stated that he had reconciled himself with
Schmidt and consequently had no further complaint. Kellner repeats this in two
other letters. The case was tried at the court-martial on 27 July 1709, where
it was established that Kellner's accusations were void of all foundation. A
detailed report of the case is found in a letter by the auditor mayor Krompein.
On 30 July 1709 Schmidt wrote to the governor Lybecker and from that letter it
is clear that Kellner, probably as a result of the reconciliation, was not
sentenced. In this letter Schmidt says that by the reconciliation he wanted to
avoid a lengthy lawsuit with reference to Kellner being "en sådan man hwars
renome nog bekant ähr liggia i process" [a man whose reputation of
carrying on lawsuits is known]. The last document in the case is a letter,
dated 8 October 1709, from the auditor mayor Krompein to the Crown in council,
probably in response to another, not preserved, bill of protest from Kellner.
Incidents like the one described surely were common in war time. Kellner's part
in the conflict is hardly flattering considering his unfounded accusations.
There also seems to be some truth in Schmidt's declaration that Kellner was
notorious for carrying on lawsuits. Kellner was both law-schooled and always
wanted to have the last word. This is also indicated by some of his later
activities(12)
In October 1709 the Danes attacked Scania in the southern part of
Sweden and it was decided that von Straelborn's batallion should be transported
from Vyborg. At first it was intended that the batallion should reinforce the
garrison stations at Malmö, Landskrona and Halmstad, but on 15 October 1709 it
was finally decided that it should be placed under the command of Magnus
Stenbock, governor in Scania. Barely a month earlier, on 17 September, the
batallion had enrolled in Vyborg and it consisted of four companies.
Quartermaster David Kellner was on the staff. The transport of the batallion to
Scania was not done until November-December 1709. Kellner himself embarked for
Sweden on 9 November. He may have stayed in Stockholm about two months, between
the beginning of November 1709 and mid-January 1710. During this period he
probably finished a book of religious poems, Die Noth-Flagge des Gebeths. . .
[The Prayer as a Flag of Distress. . .], (Stockholm, 1710). The preface of the
book is dated 2 January 1710. It contains about 30 poems influenced by Kellner's
experiences during war-time and it was intended to bring consolation. On 17
December 1709 the Saxon batallion arrived at Kristianstad in Scania under the
command of captain Per Stjernkrantz. Von Straelborn stayed in Stockholm and was
never to take command of the batallion, which counted 500 men, few officers and
defective equipment. Kellner must have joined the batallion before 23 January
1710. On this particular day the battle between the Swedes and the Danes at
Fjälkinge near Kristianstad was fought and Kellner became a prisoner of war.
The Swedish troops were thoroughly defeated and the Saxon batallion does not
seem to have offered much resistance. Four hundred and fifteen men of the
batallion became prisoners of war and were, on 24 January, brought to
Kristianstad to be forwarded to Helsingborg and Copenhagen. On 11 February the
Danish general Reventlow issued a passport for Kellner saying that he was
permitted to travel to Copenhagen and proceed from there. Furthermore he should
not be impeded and he was even to be rendered all possible help! In some later
letters to the Crown in council Kellner himself refers to the battle and his
imprisonment. According to these he probably spent some time in Denmark. He did
not return to Sweden until October 1710. He was then placed with the enrolled
men, where he was actually never to serve. He was probably back in Stockholm in
the last quarter of 1710.
Kellner's military career was concluded when on 11 March 1711 he
was appointed captain at the German infantry batallion of lieutenant-colonel
Peter de Stöhr. This consisted mainly of Germans and Danish prisoners of war.
The appointment of Kellner was issued by the council and not the Crown in
council, which caused him some problems later in life. Kellner never came to
serve at this batallion either as he himself explains: "Ich habe aber die
Compagnie niemahls angetreten, denn da ich die Vollmacht erhielt, war die selbe
von einen andren beseget" [But I never entered service at the company,
because when I received the letters of appointment the company had already been
defeated by another]. Kellner had "die besten Jahre seiner Jugend im
Kriege gebracht" [spent the best years of his youth at war] as his
publisher Kissner states in his preface to the first edition of the Treulicher
Unterricht. This period of his life comprised nearly ten years and he had both
been prisoner of war and also injured: "dass ich allerding blessuret
worden, davon kommen annoch die Merkmahle meiner curirten blessuren
zeigen" [the traces of my healed wounds can still show that I for certain
was injured]. Even if Kellner during these ten years cannot have had many
opportunities to occupy himself with music he says: "Und ob ich zwar mein
Leben meisthentheils in Militair-Diensten zugebracht und viele Jahre vor einen
Officier gedienet so bin ich doch ein Liebhaber der Music gewesen..." [And
although I have spent most of my life in military service and for several years
have served as an officer I have in spite of this been a music-lover]. During
the rest of his life music was to play the leading role. The title of captain
was nevertheless very useful to him. Through that title Kellner was regarded as
a person of certain standing.(13)
The first decade as carillonneur and organist in Stockholm
When Kellner arrived in Stockholm the city was severely ravaged
by the bubonic plague. It was said that it was brought to Stockholm by refugees
from Livonia. The plague raged between August 1710 and April 1711 and at its
culmination more than 1,600 people died each week. One of the victims may have
been Reinhold de Croll, who died on 29 November 1710. He had held the posts as
carillonneur at the German church and as organist at St Jacob's church, both in
Stockholm, and his death of course made these posts vacant. We must also bear
in mind that David Kellner's brother Christian had been organist at the German
church since December
Haben wier zu einen Klockspiller angenommen Hr David Kellner, hadt er einige Musik zu probe gespillet, und gehet sein Jahr um den 6e Januarij 1711, sein Jehrlich Lohn ist 650 daler kmt und ein jedesmahl wen er für einen Todten, oder zu einen hochzeit spillet zukumpt er 12 daler kmt und soll ihn wie er sich in seinen ampt werhalten soll eine schriftlich Instruction gegeben werden. [We have engaged David Kellner as carillonneur and he has played some music as a probation. His year starts on 6 January 1711 and his annual salary will be 650 copper daler and one copper daler when he plays for a deceased or at a wedding he will receive 12 copper daler. He shall be given a written instruction how he shall conduct himself in his office.]
Just a couple of days later, on 25 January 1711, Kellner was also
appointed organist at St Jacob's church by its church council.
St. Jacobs's church in
Stockholm in the late 18th century.
Interestingly enough a very detailed instruction for the organist
at St Jacob is still preserved. Even if it is dated 1673 we can assume that in
its principal parts it was still valid when Kellner was appointed. It states
that the organist should be able to
- play a preludium "manualiter und pedaliter" over any given key
- treat any chorale or hymn "per fugas" in the customary way "in manuale et pedali absque ritus"
- elaborate "ex tempore" a given theme into a fugue in four parts
- execute the "Bassum Generalem" in four parts
- conduct in the absence of a skilled conductor
- compose a lovely "harmoniam" over a given text
Furthermore on Sundays and festival days he should adjust himself
to the circumstances and not only play pleasant things but also charming and
merry ones after the Italian manner of today. Finally he should also carefully
attend to the organ which is entrusted to him. According to a letter of
appointment for another organist at St Jacobs's church, dated 1662, it was also
the organist's duty to play at feasts and gatherings within the parish and to
provide wealthy people with musicians. As organist at St Jacob Kellner received
a yearly salary of 750 copper daler and his total yearly salary may be
estimated to about 1,500 copper daler (= 500 silver daler). This was a fair
income, comparable to what the best paid musicians at the Royal chapel
received.(14)
St. Gertrud's (the German)
church in Stockholm in the late 18th century.
As carillonneur at the German church Kellner had access to a
carillon of a very high quality. This was installed in 1666 and made by the
most renowned of the Flemish bellfounders of the 17th century: the brothers
François and Pieter Hemony from Amsterdam. The carillon consisted of 29 bells
with a range from G to c" and some of these were tuned in
"Chorton" to enable the carillon to be played together with other
instruments. The carillon is a demanding instrument to play and a Dutch writer,
Fischer, observed in 1738 that "for carillon playing a man requires
nothing more than a thorough knowledge of music, good hands and feet, and no
gout!" John Camp describes carillon playing in the following manner:
. . . if recognised tunes are to be played there must be scope for a certain amount of expression in the playing, with the possibility of runs and arpeggios in the lighter bells in contrast to the sonorous tones of the heavier ones whose 'partial' notes may be heard longer than is required. . . The problem is to equate this considerable physical effort with a lightness of touch which enables the higher-toned bells to be rung in rapid succession and in conformity with the requirements of the melodic line.
Unfortunately the Hemony carillon of the German church was
destroyed in a fire in 1878 and the later replacements have not come near its
quality. The sources remain silent about Kellner's playing on the carillon but
the very complete records from the German church show that he served at the
post almost until his death.(15)
From Stockholm censual records we are able to establish where
Kellner resided through the years. In 1711 he lived in the block of Latona
number
As is the case with Kellner's capacity as carillonneur the
records do not tell us anything about his playing on the organ in St Jacobs
church. There are several entries concerning him in the records of the church
council but they mainly deal with the maintenance and repairing of the organ as
well as Kellner's complaints about his salary. In
In November 1714 the Swedish king Charles XII returned from
Turkey to the Swedish provinces in northern Germany, an event that was much
celebrated. More than 30 complimentary poems concerning this occasion are
preserved in the Royal Library, Stockholm. One of them is written by Kellner:
Da Ihro Konigl. Majestät. . . Carolus der XIIte. . . aus der Türkey In dero Erb
Ländern wieder ankam. . . [When His Royal Majesty. . . Charles XII. . .
returned from Turkey to his hereditary dominions] (Stockholm, 1714), and it
consists of six "arias" with a "recitativo". Presumably
these were furnished with music, now lost, which may have been composed or
collected by Kellner himself. Even if we have no proof it seems reasonable to
believe that these arias were performed in the German church. An unspecified
payment was given of 20 dollar silver "An den gewesenen Rathshern
Kellner" according to the account books of Ulrika Eleonora and with the
date 25 Nobvember 1714. It seems reasonable to suppose that this Kellner is
identical with David Kellner. On at least one occasion music was performed
there to celebrate the return of the king. On 18 December 1714 six
"Hautboisten" received payment "vor unser auffwartung auf dem
Teutschen Kirchturm bey dem Danckfest, wegen Ihro Königl. Mayest. glücklichen
zu hausse kunfft. . ." [for our attendance at the feast-day when His Royal
Highness happily returned home] and on 21 December "Joh. Jacob Bach
Trompeter" (Johann Sebastian Bach's brother) received payment, probably
for the same occasion. Another opportunity for Kellner to use his poetical
talent was the marriage between the crown princess Ulrika Eleonora and Frederic
of Hessen when he published a complimentary poem, Untherthänigste Zeilen bey
der hohen Vermählung. . . [Humble lines at the royal nuptials. . .] (Stockholm,
1715). On 9 June of this year Kellner received payment from the German church,
". . . an herr David Kellner 24 d kmt zu bezahlen vor die aufwartung so er
der Princessin beylager gehabt. . ." [to Mr David Kellner is payed 24
copper daler for his attendance at the princely nuptials. . .], and this may
have had some connection with his poem.(18)
His work at the St Jacob's church seems not to have been too
rewarding. He had to struggle with the chuch council both concerning the bad
state of the organ and concerning his wage. The economy of the church was not
satisfactory and the church council tried to reduce Kellner's salary by 20 %,
which he of course found hard to accept. The council searched for another
organist who could be satisfied with the lower wage, but did not have any
success. Kellner got more and more angry about this state of affairs and the
conflict between him and the council culminated in 1718 and 1719. The council
tried to dismiss him but it seems to have been paralysed and the case was tried
again and again without any effect other than that Kellner finally accepted the
lower payment.(19)
A "musicalischen Concert"
The 18 July 1720 was the name-day of the king Frederic I. To
celebrate this occasion a "musicalischen Concert" with the title Der
frohlockende Parnassus in einem musicalischen Concert. . . (Stockholm, 1720) by
David Kellner was probably performed. It seems to be the first time the term
"concert" appears in Sweden. Unfortunately there are no other records
than the printed text that shows that Kellner's work really was performed. The
music to it is lost, but we may suppose that Kellner was the writer of the
text. As he states, he had also borrowed some of the music: "Nachdem ein
Theil dieser Musique aus dem herausgegebenen Wercken eines berühmten
ausländischen Componisten genommen so haben sich die Verse darnach accomodiren
müssen. . ." [as some of the music has been taken from the published works
by a famous foreign composer the verses had to be adapted to that. . .]. We may
only guess the identity of this composer: maybe it was Georg Philipp Telemann.
To what extent Kellner himself had composed music for the concert is not known.(20)
Der frohlockende Parnassus has a pseudo-dramatic form and the
characters are taken from antique mythology. The exultant Parnassus consists of
Apollo, the God of sun and light, and Calliope, the muse of heroic poetry and
mother to Orpheus, together with the divinities of the well which form a choir.
The concert starts with an "ouverture" followed by an "aria à
2", sung by Apollo and Calliope. After an "aria con choro"
Apollo recites: "Stimmt einen Chor von Lauten an / So man der Seele Julep
heissen kan; / Und last die süssen Violinen / Den Lauten zu Gefehrten
dienen" [Strike up a chorus of lutes in order to command the soul of Julep
and let the sweet violins serve as companions]. This initiates an instrumental
interlude: " hier läst sich ein Chor Lauten mit etlichen Violinen
hören" [here a chorus of lutes with some violins are to be heard] and
Apollo continues: "Nun machte es einmahl so / Das eure Geigen / Auf eine
zeitlang schweigen / Die Lauten spielen dann ein sanfft Adagio" [Now let
your violins remain silent for a while and the lutes then play a soft adagio].
The following interlude is an Adagio performed on lutes and after a short
recitativo the suite is concluded with a presto, probably with all instruments
involved. After that follows a duet between Apollo and Calliope, another
"aria" and a recitativo. Before the concluding "canzonette en
Gavotte" an "aria à 2" and a short recitativo are sung. The
canzonetta is played tutti. A clear plot is difficult to find and the main
function of the characters is to provide as many opportunities as possible to
eulogize king Frederic. Even if the music is lost we may have some idea of the
instrumentation: two singers, a choir, several violins and lutes. The lutes
probably also functioned as thorough-bass instruments. In the text Kellner
stress the importance of having "excellenten Musici" and the pleasant
voice of a young woman for the performance.
Der frohlockende Parnassus indicates that Kellner had an interest
in musical performances on a larger scale, althought this "concert"
was an isolated case. He had to limit himself to smaller performances in
connection with the divine services at the church of St Jacob. Interestingly
enough several of these were furnished with a printed text, which in some cases
at least give us a hint about the performances. The first one known was held in
1720 on Trinity Sunday, but the text only says that two arias and a
"choral" were performed. Another one occurred in 1723 and was called
"a musical devotion", consisting of one cantata, three arias and a
recitativo. The text also states that "under Helga Nattwardens begående
Tracteras Orgel-Wercket af en 6. åhrs gammal pilt" [during the Holy
communion the organ is played by a six year old lad]. The name of the boy was Ernst
Johan Londicer, an infant prodigy who was to become well known even outside
Sweden. He was probably musically fostered by Kellner. It seems probable that
they had a rather close relationship as Kellner on November 7th 1739 was
godfather to Londicer's son Ernst Wilhelm. Another of Ernst Wilhelm's
godfathers was the famous Johan Helmich Roman, which implies that Kellner and
Roman knew each other.(21) Londicer also
performed at the concert given on the first Sunday in Advent 1724, and on this
occasion he played thorough-bass on the organ during the entire concert. The
next year, 1725, Londicer was so advanced that he was allowed to take the
organist's place completely, performing chorales and thorough-bass
accompaniment to the "Cantata" then performed. Music by Telemann was
played in the concert arranged in 1726, also in connection with the divine
service. This time Londicer got an opportunity to play a "communion
aria" of his own composition. Londicer's gifts must have been rather
exceptional as he is refered to in several German newspapers and books. The
Jenaische Zeitung mentions in 1724 that at the age of eight and a half years he
had composed an elaborate prelude consisting of four voices and a "schönen
cantablen Menuet". Johann Gottfried Walther gives him a considerable space
in the Musicalisches Lexicon. . . (Leipzig, 1732) and Walther says, apparently
without knowing the identity of David Kellner: "Das er [Londicer] von
einem vormahls bey einer Schwedish-Teutschen Batallion gestandenen Officier,
welcher schon verschiedene dergleichen Proben einer besondern Art zu zu
informieren, gezeiget, unterweisen worden. . ." [that Londicer had been
instructed by an officer in a Swedish-German batallion, who in different ways
had showed a particular skill in teaching]. Kellner himself used Londicer as an
example in the preface to the Treulicher Unterricht. Kellner says:
... wie ein Knabe von 7. oder 8. Jahren, welcher in Stockholm nach dieser Methode die Music gelernet, ein so wundernswürdiges Probe=Stück abgeleget, dass er in der dasigen Jacobi-Kirche an einem Fest=Tage bey gehaltenem Gottesdienste sich öffentlich auf der Orgel hören lassen, und nicht allein den General-Bass zur Musique gespielet, sondern auch sehr geschickt die Chorale und Præludia manualiter und pedaliter tractiren können; unterscheidlicher andern zu geschweigen, welche allda durch Hülffe dieser Lehr=Arth bey eben so jungen Jahren überaus grosse und vormahls bey Kindern nie erhörte Profectus gemacht [how a boy in Stockholm, seven or eight years old, has learnt music from this method and showed such a skill that he at the divine service on a holiday at St Jacob's church he played the organ, not only the thorough-bass but also the chorales and the preludes manualiter and pedaliter not to mention other things. He has through this method of teaching made improvements never heard of among children].
This indicates that Kellner already in the early 1720s may have
begun to prepare his own thorough-bass method and that it really was based on practical
experience.(22)
Kellner's contacts with Germany
David Kellner surely kept himself well informed about musical
life in Germany. We may guess that his stepdaughter Regina Gertrud Schwarz
played an important role in this connection, and she could furnish him with the
latest news as she lived in the midst of what was happening. As I mentioned
earlier she was probably brought up musically by Kellner and she may also have
been an infant prodigy. Already in 1704, when she was about 14 years old, she
is mentioned in Nova literaria maris balthici (Lübeck, 1704) as being
exceptionally gifted both in vocal and instrumental music as well as in
composition. According to the same source music by her was published in a
collection, Musicalische Gemüths=Weyde. In
Regina Gertrud and her stepfather David Kellner had a strong
common interest in music and even if we have no documents to prove it we may conclude
that she may have inspired him with descriptions from Dresden, then a real
musical centre in Europe. She probably was acquainted with Heinichen,
Mattheson, Telemann and Sylvius Leopold Weiss. It is interesting to note that
Kellner introduced the "clavessin d'amour" to Sweden in 1728 and this
instrument has a very special connection with Regina Gertrud. The history
behind it is related by her husband Johann Ulrich von König in the
Bresslauischen gedruckten Sammlungen von Natur-, Medicin-, Kunst- und Literatur
of 1721. He says that Gottfried Silbermann was inspired by Regina Gertrud to
construct this instrument in order to meet her demands of an instrument
"welches die Kraft und Dienste eines kleinen Clavessins, und doch die
Zärtlichkeit eines Clavichordii behaupten könnte" [which could combine the
force and service of a small harpsichord with the tenderness of the
clavichord]. Kellner was also aware of Silbermann's abilities as an
organ-builder as he mentions his work at the new organ in the St Sophia church
in Dresden, which was installed in 1720.(24) Recently
a "clavessin d'amour" or "cembal d'amour" has been
identified in the National Museum of Finland. This instrument may have been
made in Sweden in the 1730s and is the first known example of an still existing
"clavessin d'amour". Further investigations concerning this
isntrument is now carried out. Information about the instrument can be found in
the leaflet Cembal d'amour.(24b)
It may have been Regina Gertrud who supplied Kellner with German
books about music. In some cases we also know which books he studied. His own
copy of Johann Mattheson's Das Neu-Eröffnete Orchestre. . . (Hamburg, 1713)
bound together with the same author's Das Beschützte Orchestre. . . (Hamburg,
1717) is still preserved in the Music Library of Sweden in Stockholm.
These books were studied carefully as can be seen from the many
written comments he has made, particularly in the last one. In the same library
a copy of Mattheson's Exemplarische Organisten-Probe. . . (Hamburg, 1719) is
kept which may also have belonged to Kellner. The notations in this are very
similar to Kellner's handwriting, but his name is not written in it. This
particular book was acquired by someone in July 1720 and already on 24
September in the same year Kellner wrote a letter to Mattheson, which was
published in the latter's Grosse General-Bass-Schule. . . (Hamburg, 1731). This
shows that Kellner must have had acquired a copy of Exemplarische
Organisten-Probe rather soon after its publication. Mattheson had in this book
asked for information about distinguished "Kapellmeister" for his
planned Grundlage einer Ehren-Pforte. . . (Hamburg, 1740). In his letter
Kellner suggests that Mattheson should include Gottfried Buchholtz, deputy
master of the Swedish "Hofkapelle", and he also enclosed two compositions
by Buchholtz dated 20-26 March and 17-28 April 1720. From what follows this
letter was the first contact between Kellner and Mattheson. In the
Exemplarische Organisten-Probe Mattheson writes about the difficult art of
singing to one's own accompaniment and he mentions a woman in Ober-Sachsen with
particular skills in this field. He hides her identity in the form of a pun:
"Ob die Person blond oder Schwarz sey, mag einer erraten" [you may
guess if the person is blond or "schwarz"]. Kellner tells Mattheson
that he is the stepfather of the "Schwarzin", that is Regina Gertrud,
born Schwarz. Kellner finishes his letter by saying that although he had spent
a long time in military service he had always been a "Liebhaber der
Music" and that he is at Mattheson's disposal. We have no information
about any further correspondence between Kellner and Mattheson, but some sort
of indirect and negative contact was established after Mattheson had reviewed
the first edition of Treulicher Unterricht in 1732.(25)
Kellner continued working as organist and carillonneur. In 1721
he lived in a house owned by and near the German church. The church council
tried to get him to move to another residence, but Kellner wanted to stay and
also pointed out that the church servants in other places lived rent-free while
his own rent was 200 copper daler a year. In 1725 we find him living in another
house, but also in the Old City. On the night between 14 and 15 May
The 1730s and the Treulicher Unterricht
On 20 February 1730 Kellner wrote to the military authorities and
handed in his resignation as a captain. He wanted to keep the designation of
captain, but the authorities were not particularly keen on this. Their opinion
was that he was not worthy of this honour as he had not fulfilled his duties as
an officer and even had worked as organist, a profession quite incompatible
with that of captain. However, Kellner probably was allowed to keep the title
of captain as he used it during the rest of his life. In the population
register of 1731 it is noted that he and his wife had gone away to Finland and
that they intended to register there. The reason for this journey is not known,
but Kellner cannot have been in Finland for long as in this particular year he
received payment from the German church.(27)
When Kellner started working on his Treulicher Unterricht is not
known, but it seems safe to assume that the book was prepared in the late
1720s. As I have said earlier he had several pupils and the teaching of them
may have inspired him to write his method down. He had obvious reasons for publishing
his book in Germany and in the German language: he could write in his native
tongue; the book could expect a much larger sale and wider diffusion; there was
a lack of facilities for music printing in Sweden as well as high charges for
paper. Even if we have no evidence it is quite possible that his step-daughter
Regina Gertrud helped to establish contacts with the publisher Johann Christoph
Kissner in Hamburg, who printed the Treulicher Unterricht. Kellner's book was
not the first musical book Kissner printed. He had published several of
Mattheson's works earlier. The full title of Kellner's book reads:
Treulicher / Unterricht / im / General-Bass, / worinne / alle Weitläufftigkeit vermieden, und dennoch / ganz deutlich und umständlich allerhand sothane neu-erfundene Vor- / theile an die Hand gegeben werden, vermöge welcher einer in / kurzer Zeit alles, was zu dieser Wissenschaft gehöret, sattsam / begreifen kan. / Zum Nutzen, / Nicht allein derer, so sich im General-Bass üben, son- / dern auch aller andern Instrumentisten und Vocalisten, welche / einen rechten Grund in der Music zu legen sich befleissigen, / herausgeben / von / D.K. / Hamburg / Zu finden im Kissnerischen Buchladen. 1732 [A true method of thorough-bass in which all diffuseness is avoided, and, many newly-invented devices are quite fully and clearly given, by means of which anyone can in a short time fully master everything that pertains to this science. To the benefit not only of those who practise thorough-bass, but also of all instrumentalists and vocalists who take pains to lay a proper foundation in music, edited by D.K., Hamburg, to be found in the Kissnerischen bookshop, 1732].
The preface of the work is dated 2 May 1732. The book was issued
in 2,000 copies and it became an immediate success: the whole edition was sold
out within a year according to Georg Philipp Telemann in his preface to the
second edition. Why Kellner hides himself under the abbreviation
"D.K." is not clear, but some clues to the author's identity are
given in the publisher's preface where it is said that the book was written
mostly in Stockholm by a "Capitain-Charge".(28)
The book was announced in the Nieder-Sächsische Nachrichten von
Gelehrten neuen Sachen 10 April
I do not intend to go into much detail about the content of
Treulicher Unterricht as this has been done by Gun Fridell in her dissertation,
but I will add a few remarks. As Mattheson states Kellner's book was certainly
not the first on the subject. More than 30 works which treat thorough-bass more
or less in detail had been published before 1730. Kellner mentions some of his
sources of information. He was well acquainted with Arcangelo Corelli's works
and this composer's subtleties in the continuo-parts. He also refers to Charles
Masson and his Noveau traité des règles pour la composition de la musique
(Paris, 1700) and he probably had access to Sébastien de Brossard's
Dictionnaire de musique. . . (Paris, 1703) as well as François Campion's Traité
d'accompagnement et le composition selon la règle des octaves de musique. . .
(Paris, 1716) and Jean-Philippe Rameau's Traité de l'harmonie (Paris, 1717). A
"Dictionaire françois" is mentioned in the inventory after his death
and we may conclude that he mastered the French language. Maybe it was
Campion's book with its lucid pedagogical method that influenced him most among
the French theoretical works. Kellner was also familiar with the current
repertory of music. He refers to several operas by Handel, works by Chelleri
etc. More important however, were the German composers and writers Georg
Philipp Telemann, Johann David Heinichen and Mattheson. Any direct contacts
between Kellner and Heinichen are not recorded but we must bear in mind that the
latter worked at the Dresden court 1717-1729, that is during the same period
when Kellner's step-daughter Regina Gertrud was there. She and Heinichen ought
to have known each other. Heinichen published two methods on the thorough-bass:
Neu erfundene und gründliche Anweisung. . . (Hamburg, 1711) and Der
General-Bass in der Composition. . . (Dresden, 1728). Kellner knew both these
works and as Gun Fridell has shown there are many similarities with the last
work and Kellner's Treulicher Unterricht. On the other hand Heinichen's book is
much more extensive and Kellner had another purpose with his work. Mattheson's
books were certainly carefully studied by Kellner as has been shown earlier and
most influential perhaps was the Exemplarische Organisten-Probe. It is hardly
likely that Mattheson's Grosse General-Bass-Schule could have exercised much
influence as this was published just a year before Treulicher Unterricht left
the presses and Kellner does not mention it at all, only the Exemplarische
Organisten-Probe. Another possible source of information for Kellner is the
Kurze Anführung zum General-Bass which I have mentioned earlier in connection
with Miss Freudenberg, Kellner's pupil. In spite of his rather isolated
situation in Stockholm Kellner must have had a good knowledge of musical life
in both Germany and France.(30)
Kellner opens his book with a short introduction, where he says
that the "Clavir" is the most suitable instrument for the
thorough-bass, but it can also be performed on the lute, the theorbo, the
calichon, the bandora, the viol and even the guitar. He particularly mentions
Sylvius Leopold Weiss in this connection:
Das aber der berühmte Sylvius Leopold Weiss auf seiner Laute was rechtschaffens accompagniren und auf demselben das præstiren kan, was andere müssen bleiben lassen, solches ist mehr seiner Geschicklichkeit als dem Instrument zuzuschreiben [That the famous Sylvius Leopold Weiss upon his lute is able to play a correct accompaniment and on that instrument accomplish what others have to avoid is more to credit his skill than the instrument].
It is hardly likely that Kellner had ever heard Weiss play the
lute and this information may have been supplied by Regina Gertrud, who
probably knew Weiss as they were at the Dresden court at about the same time.
In the first chapter of Treulicher Unterricht Kellner describes all the
intervals and their figures and through a movable graph how to get all the
intervals from given notes. Other graphs show the notes of the chords and
Kellner also gives instructions on playing technique as well as descriptions of
two ornaments: the mordent and the arpeggio. The first chapter is concluded
with some remarks concerning the recitative and here he gets an opportunity to
demonstrate his knowledge of poetry. The second chapter treats the figures and
in the third and fourth Kellner describes the progressions. Modulations to
other keys are dealt with in the fifth chapter, consonances and dissonances in
the sixth and seventh. Kellner ends the book with the following remark:
"Hiemit schliesse ich nun dieses Werck dabey wunschende dass ein Lernender
dadurch gute profectus machen, und seine Wissenschaft GOTT zu Ehren und seinem
Nechsten zum Dienst anwenden möge" [Herewith I conclude this work hoping that
the student by means of it shall make good progress and use his knowledge to
honour GOD and to serve his neighbour].(31)
As mentioned earlier Kellner's book was very successful and must
have met a real need for an elementary and serviceable method for thorough-bass
accompaniment. The many following editions also show that this success was not
momentary. It took, however five years before the second edition left the
presses in 1737, this time published by Christian Herold in Hamburg. The author
still hides himself behind "D.K.", but his full name is given in the
preface by Georg Philipp Telemann, dated Hamburg 2 May 1737. Telemann credits
Kellner for being particularly gifted in presenting extensive subjects in concise
form. According to the title-page this was the "Zweyte und vermehrte
Auflage" [second and enlarged edition], but the changes and additions are
rather few compared with the first edition. Kellner has added a postscript in
which he refutes the negative review in Niedersächsische Nachrichten, but
without mentioning Mattheson's name. From the second edition it is also clear
that Kellner had studied Johann Gottfried Walther's Musicalisches Lexicon and
he seems to have kept himself continually informed about new books within his
sphere of interest.(32)
The Treulicher Unterricht was certainly prepared and written in
Stockholm as we have no information whatsoever that Kellner visited Germany
after he left Liebertwolkvitz as a young man. His brother Christian had died in
1733 and in 1726 had already been succeeded by Christian's son-in-law Johann
Friedrich Seeliger as organist at the German church. There are very few notes
on Kellner in the records of the two church councils, but he regularly gave receipts
for his payments. Somewhere around 1734 he moved to another house, but still as
a tenant. It seems reasonable to suppose that he had contact with other
musicians in Stockholm. We know at least one by name, Jonas Londée, who was
employed pro tempore at the "Hofkapelle" as music copyist, tuner and
repairer of musical instruments. Londée was responsible for the Swedish
translation of Treulicher Unterricht, which was published in 1739 under the
title Trogen Underrättelse uti General-Basen. . . (Stockholm, 1739). Apart from
a translation of the preface by Telemann this edition had another one by
professor Daniel Solander of Uppsala and Kellner's full name is still not given
on the title-page. We may be sure that Kellner took an active part in the
editorial process of the Swedish version and this was probably the only one he
was really able to supervise personally. As I mentioned earlier it was
certainly not easy to get a music book printed in Sweden due to the lack of
skilled printers and paper. But Londée had other problems, which he express in
his preface. The Swedish language lacked many of the terms needed for such a
treatise. This is not surprising as the Trogen Underrättelse was the first
music method published in Swedish. It was advertised in Stockholms
Post-Tidningar on 5 April 1739 and on several occasions the following year, but
it was not as successful as the first German edition and no further Swedish
edition was published. Nevertheless, it must have exercised a considerable
influence in Sweden, being the only available method of its kind during the
18th century, and it was used well into the 19th century. Several manuscript
versions of it were done and it is referred to in many 18th century Swedish
sources, printed as well as manuscript.(33)
Shortly after the Trogen Underrättelse had left the presses
Kellner wrote to the king again on the subject of his resignation as captain.
He was obviously not satisfied with the opinions that the military authorities
had expressed nine years before and refutes their statements about his not
being worthy the designation of captain. He argues at length about all his
hardship in military service: how he had been wounded, how he had become a
prisoner of war, how he had been deprived of all his belongings and had not
even received his salary. For Kellner it was obviously very important to keep
the title of captain, and he appeals to the king to grant his request. It is
not known whether his supplication was rejected or approved. According to the
church council records of St Nicolaus in Tallinn Kellner visited the city on 13
December 1739 at the christening of George Gustav Kellner, the grandson of
Philipp Kellner.(34)
The last decade of Kellner's life and the XVI. auserlesene Lauten-Stücke
In 1741 at the latest he moved to a new house in the Old City of
Stockholm, between the castle and the German church. When the council of the
cathedral in Turku wished to appoint a new organist this year the "very
famous" David Kellner certified that one of candidates, Lars Kinström, was
both skilled and prudent. In the same year a new version of Treulicher
Unterricht was issued, but this time in Dutch and with the author's full name
given: D. Kelner, korte en getrouwe underregtinge van de generaal bass of
continuus. . . (Amsterdam, 1741). This edition was published by G. F. Witvogel
under the supervision of Gerhardus Havingha. Only two years later, in 1743, the
third German edition was printed by Christian Herold in Hamburg now under the
full name and title of the author: "David Kellner, Capitaine". This
included professor Daniel Solander's preface from the Swedish edition
translated into German, slightly changed and enlarged. This was the last
edition which Kellner could have had any influence over as the following ones
were all printed after his death. He was at this time about 70, but still
active as organist and carillonneur even if his engagements slowly decreased.
There are very few notes concerning him in the records of the two church
councils. One of these is about Kellner's request to receive full payment
during the period (1741-1745) when the new organ was installed in St Jacob's
church. Another glimpse of him is a letter dated 25 February 1743 to the king
concerning his problems with getting his full salary from the council of St
Jacob. When the council discussed the 100th anniversary of the church, which
occured in 1743, they chose another organist, Ferdinand Zellbell the elder, to
compose some songs and to take care of the music at the ceremony. Kellner is
not even mentioned in this connection. During the 1740s he was also busy
working on a revision of the Swedish choralebook for organists, but no copy of
this has been found.(35)
In 1745 Kellner resigned from
his post as organist at St Jacob's church and was succeeded by Lüdert Dijkman
and in this year at the latest he moved to a house of his own, still in the Old
City of Stockholm and quite near the German church. He held his post as
carillonneur until December 1747 when he finally resigned. In a letter to the
council of the German church he states that he had served the church for 37
years and now was so old and infirm that he had been forced to take as an
assistant Christian Friedrich Seeliger, son of the organist at the German
church. Christian Friedrich Seeliger was in fact grandson to Christian Kellner,
and David Kellner suggests that Seeliger should succeed him as carillonneur at
the German church. Apart from his musical activities Kellner together with his
wife also seems to have had a form of pawnbroker's shop during the 1740s, which
gave them an income of interest amounting to 4,100 copper daler.(35)
As a final tour de force Kellner had his lute pieces printed under
the title XVI. auserlesene Lauten-Stücke, bestehend in Phantasien, Chaconnen,
Rondeau, Giga, Pastorel, Passe pied, Campanella, Sarabande, Aria & Gavotte
[Sixteen selected lute pieces consisting of Phantasien...] (Hamburg, 1747) and
published by Christian Wilhelm Brandt. The appearance of this little book
consisting of 48 pages is odd in more than one respect. I have found nothing in
Kellner's earlier life, apart from the use of lutes in Der frohlockende
Parnassus and the short notice in the Treulicher Unterricht on Weiss, that
indicates his playing or being in the least interested in the lute. The only
other sign of such an interest is the lute listed in the inventory of Dorotea
Kellner. The music is also written for an 11-course lute when due to the late
date one would have expected a 13-course instrument. Furthermore, the style of
the collection is rather different from the "galant" current in
Germany at this time. Most surprising is the fact that Kellner, who was
primarily a keyboardplayer, should compose music for a plucked instrument.
However, there is some unconfirmed information that his lute book also appeared
in a keyboard version in 1747 and that a copy of this was once in the library
of the Conservatoire Royal de Musique in Brussels, but this information may be
due to a simple mistake. The XVI. auserlesene Lauten-Stücke in fact consists of
seventeen pieces and there have been considerable confusion in the
bibliographical descriptions of the book. The music is written in French lute
tablature for a lute in D-minor tuning with the basscourses tuned diatonically.
Kellner's obvious intention was to achieve the utmost possible variation both
in style and form between the pieces in the collection. The six phantasias are
all different from one another in length, key, number of interior sections as
well as model of figurations. He was also trying to compose the ultimate
chaconne with 27 variations on 11 pages of the book, that is nearly a quarter
of its total content! Kellner pays a special tribute to his instrument the
carillon in his Campanella with the simultaneous ringing of many notes within a
simple harmonic frame. Some of the pieces in Kellner's lute book are also to be
found in manuscript sources, intended for the 13-course lute. Unfortunately
none of these is dated and this fact makes two alternatives possible: some of
Kellner's lute pieces circulated before 1747 or these manuscripts must be dated
1747 or later. The greatest number of pieces by Kellner is to be found in the
manuscript Mf. 2002 now housed in the University Library of Wroclaw, Poland.
This manuscript originally came from the Benedictine monastery in Grissau and
belongs to a large collection of baroque lute tablatures. The manuscript
contains five pieces by Kellner to which concordances are found in his printed
tablature:
|
Page |
Text |
Concordances XVI. auserl. Lauten-Stücke |
|
15 |
Campanella presto assai |
pp. 40-1 |
|
16 |
Ciaconne |
pp. 22-3 |
|
32 |
Phantasia allegro |
pp. 8-9 |
|
89-90 |
Phantasia |
pp. 14-17 |
|
99-100 |
Prelud |
pp. 1-3 |
None of the pieces above are attributed to Kellner or anyone else
for that matter. In most cases the manuscript versions are true to the printed
edition with the exception of the prelude, which is quite different. The
phantasia has been transformed by someone into a genuine prelude. There is
nothing that suggests that this version stems from Kellner himself and no
connection between Kellner and this manuscript can be established. The most
probable solution may be that the pieces in the manuscript were copied from the
printed book.
In two other MSS from the Grissau collection (now housed in the
Warsaw University Library), MS 2009 (RM 4141) and MS 2008 (RM 4140) are
versions of Kellner's F major Phantasia. In another manuscript we find only two
pieces by Kellner, but interestingly enough both are attributed to Sylvius
Leopold Weiss. They are found in MS Mus. 5362 now kept in the Bayerische
Staatsbibliothek, Munich. Kellner's Campanella (f. 56v) reappears together with
the Rondeau (f. 58v) in versions which are very true to the ones in the printed
book. Nothing is known about the provenance of this manuscript, but in this
case it seems unlikely that the Kellner pieces were copied from XVI.
auserlesene Lauten-Stücke as they are attributed to Weiss. One could of course
speculate whether these pieces in fact were composed by Weiss and just included
in Kellner's book ("auserlesene" means "selected"), but
until we can test this hypothesis on other sources it seems safest to attribute
them to Kellner. The first Phantasia, in A moll, is copied into Krakow,
Biblioteka Jagiellonska (PL-Kj), Mus. ms. 40633 (olim Berlin, Preussische
Statsbibliothek, same signature), ff. 1v-3r. It is the second piece in the
collection, which probably was written in Dresden ca. 1750-1755. The MS is
written by two scribes. The first hand copied on ff. 1-35v 56 pieces, all in A
minor and for 11 course lute. The repertoire is oldfashioned for the middle of
the 18th century: apart from the Kellner Phantasia and many anonymous pieces, there
are works by Baron (an early suite), Weichmanberg (=Weichenberg?), Losy,
Eckstein, Pasch, Hinterleitner, Gallot, Mouton, and Vieux Gautier. The second
scribe, who probably is identical to H.F.W. Raschke, wrote on ff. 36-40 11 lute
pieces and intabulations of instrumental pieces by Rasche, Bronikowsky and
Anon.(35b) It is not known how many copies
were printed of the XVI. auserlesene Lauten-Stücke, but only two are extant,
now housed in the University Library of Uppsala, Sweden, and in the British
Library, London. The lute pieces are the only known compositions by Kellner
which of course does not rule out the possibility that he composed much more
music, now lost or unidentified.(36)
David Kellner died on 6 April 1748 and was buried on 10 April. He
had reached the age of about
David Kellner and posterity
Without doubt the most significant work of Kellner is the
Treulicher Unterricht. It was reprinted several times after his death. The
fourth German edition appeared in 1749 and the second Dutch one in 1751, this
time published by J. Covens junior. It then took nearly 30 years before the fifth
German edition was printed in 1773 by Christian Herold Witwe followed by the
sixth in 1782. The seventh edition was enlarged with "Neue Melodien zu
einigen Liedern des neuen Hamburgischen Gesangbuchs" by Carl Philipp
Emanuel Bach and appeared in 1787. Most remarkable is the fact that Treulicher
Unterricht was even translated into Russian and published under the title
Vernoe nastavlenie v sosinenii general-basa. . . Sosinennoe gospodinom D.
Kelnerom. . . (Moscow, 1791) and edited and translated by N. Zubrilovy. With
the exception of the two facsimile reprints available today the last printed
edition appeared in 1796 published by J.G. Herold in Hamburg. This list of
editions shows the impact and continuing demand Kellner's book once had. As I
have shown earlier it was still used at least in Sweden as late as the 1830s,
even if it was not so successful in this country as it had been in Germany and
the Netherlands.(38)
The Treulicher Unterricht is mentioned in several sources during
the 18th century. There is a short summary of the first edition in the first
volume of Lorenz Mizler's Musikalische Bibliothek. Mizler recommends the book
for beginners and suggests Mattheson's Organisten-Probe for further reading. He
also mentions the critical review by Mattheson in the Niedersächsische
Nachrichten. Jacob Adlung refers to Kellner several times in his Anleitung zu
der musikalischen Gelahrtheit. . . (Erfurt, 1758). A positive opinion about
Treulicher Unterricht is expressed by Christoph Gottlieb Schröter in his
Deutliche Anweisung zum General-Bass. . . (Halberstadt, 1772) and he writes
that it "enthält seiner Kürze ohngeachtet viel gutes. . . Dieser
kriegerische Geist hat mehr geleistet, als man von ihm vermuthen konnte"
[contains many excellent things despite its shortness. . . This martial man has
achieved more than one would have expected from him]. Kellner's Treulicher
Unterricht was used by at least two famous composers. One copy of the 1732
edition was in the library of Johan Helmich Roman, the "father" of
Swedish music and Roman refers to it himself in a manuscript.(39)
A copy of the of the second German edition was in the library of Daniel Gottlob
Türk.(39a) Joseph Haydn's copy of the Treulicher
Unterricht is full of annotations made by the composer. This indicates that the
book was not only used by amateurs, even if it was primarily intended for them.(40)
Even if Kellner's lute music is quite often played today (his
complete works have been recorded recently and his lute book is available in
facsimile as well as in transcriptions for the guitar) it must be considered
much less significant than his thorough-bass method from an historical point of
view. When his lute-book was published the lute was in decline. His lute pieces
did not conform to the galant style of Falckenhagen and Hagen. It seems as if
the XVI. Auserlesene Lauten-Stücke quickly passed unnoticed into oblivion, and
the only signs of attention being the few pieces that were copied into
manuscript sources.
I wish to ackowledge my debt to
David Kellner's works in chronological order
Klag- und Trost-Gedicht welches über den gar sehligen Abschied
aus dieser Zeitlichkeit der Weyland hochwohlgebohrnen Frau Baronin Frau
Christina Elisabeth Taube. . . bey dero prächtigen Beerdigungs Ceremonie. . .
(Tartu, 1697).
[Poetische Gedichte (Tartu, 1699)]. No copy located.
Untherthänigste Freuden Bezeugung über den Weltberühmten Sieg. .
. Carolus XII. bey Riga genseit der Düna. . . (Tallinn, 1701).
Freuden-volle Betrachtung Der Wundernswürdigen und
Welt-berussenen Tapferkeit wodurch... Carolus XII... Die Sächsische und mit der
Polnischen Cron-Armée vereinigte Krieges-Macht. . . gänzlich geschlagen. . .
(Tallinn, 1702).
Die Nothflagge des Gebeths Umb Hülffe des Allerhöchsten im
Stürm-Wetter vielen Trübsahls (Stockholm, 1710).
Da Ihro Konigl. Majestät Der Grossmächtige Carolus der XIIte. . .
Im November. des 1714. Jahres. . Aus der Türckey In Dero Erb-Ländern Wieder
ankam (Stockholm, 1714). Unterthänigste Zeilen bey Der hohen Vermählung des
Durchlauchtigsten Fürsten und Herrn Friederichs. . . und Ihro Königl. Hoheit
der Durchlauchtigsten Princessin Ulrica Eleonora. . . Anno 1715 (Stockholm,
1715).
Der frohlockende Parnassus in einem musicalischen Concert, am
höchst-erfreulichen Nahmens-Tage des Grossmächtigsten Königes Friderici I. . .
(Stockholm, 1720).
Treulicher Unterricht im General-Bass. . . (Hamburg, 1732).
Treulicher Unterricht im General-Bass. . . Zweyte und vermehrte
Auflage. (Hamburg, 1737). [Facsimile reprints were published in 1979 by Georg
Olms Verlag, Hildesheim. and in 1985 by Kultur- und Forschungsstätte
Michaelstein]
Trogen Underrättelse uti General-Basen. . . (Stockholm, 1739).
D. Kelner, korte en getrouwe onderregtinge van de generaal bass
of bassus continuus. . . (Amsterdam, 1741).
Treulicher Unterricht im General-Bass. . . Dritte Auflage
(Hamburg, 1743). [A facsimile reprint was published in 1980 by Laaber-Verlag in
their series Dokumente früher Musik und Musikliteratur im Faksimile, Bd. 9.]
David Kellners XVI. Auserlesene Lauten-Stücke, bestehend in
Phantasien, Chaconnen, Rondeau, Giga, Pastorel, Passe pied, Campanella,
Sarabande, Aria & Gavotte (Hamburg, 1747). [A facsimile reprint was
published in 1985 by Minkoff, éditeur, Geneva.]
Treulicher Unterricht im General-Bass. . . Vierte Auflage
(Hamburg, [1749]).
D. Kelner, korte en getrouwe onderregtinge van de generaal bass
of bassus continuus. . . (Amsterdam, 1751).
Treulicher Unterricht im General-Bass. . . Fünfte Auflage
(Hamburg, 1767).
Treulicher Unterricht im General-Bass. . . Sechste Auflage
(Hamburg, 1782).
Treulicher Unterricht im General-Bass. . . Siebente mit vierzehn
Melodien von C. P. E. Bach vermehrte Auflage (Hamburg, 1787).
Vernoe nastavlenie v socinenii general-basa. . . (Moscow, 1791).
Treulicher Unterricht im General-Bass. . . (Hamburg, 1796).
Notes
1. Wienandt, E.A., 'David
Kellner's Lautenstücke' in Journal of the American Musicological Society
10 (1957) pp. 29 ff. Fridell, G., David Kellners 'Treulicher Unterricht. .
.' 1732 jämte förlagor och översättning - en jämförande studie. Unpublished
dissertation (1969). This article was originally published as Sparr, K. 'David
Kellner: A Biographical Survey' in The Lute 29/1989 pp. 3-36, ibid.
'David Kellner: Ein biographischer Überblick Teil 1-3.' Gitarre & Laute14/1992,
Heft 6, pp.13-18; 7/1993, Heft 1 pp. 17-21; Heft 2 pp. 17-21; ibid. 'David
Kellner - A Biographical Survey.' in Balticum - a Coherent Musical Landscape
in 16th and 18th Centuries. Ed. by Irma Vierimaa. Studia musicologica
universitatis helsingiensis VI. Helsinki 1994. pp. 63-90. See also Sparr, K.,
'En 250-årig Trogen Underrättelse Uti General-Basen. . . ' in Bokvännen
44(1989) pp. 119 ff. ibid. 'En 250-årig Trogen Underrättelse Uti General-Basen.
. . och dess författare David Kellner' in
2. Voigt, T., Liebertwolkwitz
in den Tagen der Schlacht bei Leipzig. . . (Leipzig, 1848). Vollhardt, R., Geschichte
der Cantoren und Organisten von den Städten im Königreich Sachsen (Leipzig,
1978). Stadsarkivet, Stockholm, Sweden, Jakob och Johannes församlingar
KIII:1 fol. 104v. Erler, G., Die iüngere Matrikel der Universität
Leipzig 1559-1809, 2 (Leipzig, 1909) p. 214. Andersson, O., 'Orglar och
organister i Åbo domkyrka' in Kring konst och kultur (Helsinki, 1948) p.
37. Seuberlich, E., 'Bürgermeister Philipp Kellner und seine Sippe in Dorpat'
in Baltische Familiengeschichtliche Mitteilungen 6 (1936) pp. 65 ff.
ibid., Liv- und Estlands älteste Apotheken (Riga, 1912). Randel, A.,
'Johan Kellner, en man av karolinskt kärnvirke' in Karolinska förbundets
årsbok (1937) pp.
3. Lagus, V., Album studiosorum
Academiæ Aboensis. . ., 1: 1640-1740 (Helsinki, 1891). Eesti ajaloo arhiiv,
Tartu, Estonia, F.1187. Ev.-luth. Landeskonsistorium von Estland. Reg. 2, No
383, fol.
4. Tartu ülikooli raamatukogu,
Tartu, Estonia, F.7. Acad. Gustaviana. Acad. Gustavo-Carolina 1632-1710, No
25, p. 175 and No 34, p. 10. Riksarkivet, Stockholm, Sweden, Livonica
II:472. Dorpat-Pernau univ. II. Ansökningar m.m. 1699-1701. 15 september
1699. Tering, A., Album academicum der Universität Dorpat (Tartu) 1632-1710
(Tallinn, 1984). Backmeister, H. L. C. 'Nachrichten von den ehemaligen
Universitäten zu Dörpat und Pernau' in Sammlung Russischer Geschichte. Des
neunten Bandes. Zweytes und drittes Stück (St Petersburg 1764) p. 206.
Lindroth, S., Svensk lärdomshistoria - stormaktstiden (Stockholm, 1975).
Rauch, G. von, Die Universität Dorpat und das Eindringen der frühen
Aufklärung in Livland 1690-1710 (Essen, 1943). ibid., 'Reichdeutsche
Studenten an der schwedischen Universität Dorpat (1632-1719)' in Baltische
Familiengeschichtliche Mitteilungen (1933) pp. 6 ff. Recke, J. F. von and
Napiersky, K. E., Allgemeines Schriftsteller- und Gelehrten-Lexikon der
Provinzen Livland, Esthland und Kurland, 2 (Mitau, 1829). Pernavia
literata breviter concinnata. . . Pars secunda (1703) fol. EIVv ff. Nova
literaria Maris Balthici. . . (Lübeck, 1704) p. 140. Adelung, J. C., Fortsetzung
und Ergänzungen zu Christian Gottlieb Jöchers allgemeinen Gelehrten-Lexicon. .
. Dritter Band. (Delmenhorst, 1810) p. 187.
5. Tartu ülikooli raamatukogu,
Tartu, Estonia, F.7. Acad. Gustaviana. Acad. Gustavo-Carolina 1632-1710, No
25, fol. 183-205. ibid. Mscr. 683. Protokolle der livländischen Oberkonsistorium
1694-98, p. 202.
6. Eesti ajaloo arhiiv, Tartu,
Estonia, F.995. Magistrat der Stadt Dorpat. Reg. 2 no 277, fols. 538 and
548. Gadebusch, F. K., Livländische Jahrbücher. Dritter Theil von 1630 bis
1710 (Riga, 1782). Koskull, W. von, 'Kungliga Dorpats hovrätt under stora
nordiska kriget' in Historisk tidskrift för Finland, 43 (1958) pp.
7. Eesti ajaloo arhiiv, Tartu,
Estonia, F.914. Dorpater Landgericht Protocollum Causarum 1697 no 1-37
fols. 59v-60r. F.995. Magistrat der Stadt Dorpat no 1-280 fols. 27, 34,
36v, 82, 110, 158v, 195-195v, 261-263v, 302v, 326v, 336, 349v, 387, 406-406v,
438-438v. F.1253. Eesti Ev. Luteriusu krille "Kirchenbuch der Deutschen
Gemeine an der St. Johannis Kirche zu Dorpat", fol. 28v. Seuberlich,
E., 'Bürgermeister. . .' op. cit. p. 65 and 70. Lemm, R. A. von, op. cit. p.
135. Gadebusch, F. K., op. cit.. p. 767
8. Tartu ülikooli raamatukogu,
Tartu, Estonia, Ms. 683. Protokolle des livländischen Oberkonsistoriums
1694-98, pp. 363 and 368. Riksarkivet, Stockholm, Sweden, Livonica
II:413. Livl. överkonsistoriet. Brev och suppliker 1699. Gadebusch, F. K.
op. cit. Anhang von 1698 bis 1710 p. 18.
9. Eberhard, D. Dorpatum in
Livonia literatum. . . (Tartu, 1698). Kellner, D., Die Nothflagge des
Gebeths (Stockholm, 1710) p. 11. Eesti ajaloo arhiiv, Tartu, Estonia, F.1187.
Ev.-luth. Landeskonsistorium von Estland Reg. 2 no 383 fols. 139-139v.
Hupel, A. W., Diplomatische Bemerkungen aus den liefländischen Urkunden
gezogen. . . Der nordischen Miscellaneen 27stes und 28stes und zugleich
letztes. . . Stück (Riga, 1791) p. 358.
10. On Busbetzky see Vabrit, T.
"The Activities of the Busbetzky Family" in Balticum - a Coherent
Musical Landscape in 16th and 18th Centuries. Ed. by Irma Vierimaa. Studia
musicologica universitatis helsingiensis VI. Helsinki 1994. pp. 25-30.
Lewenhaupt, A., Karl XII:s officerare. A-K (Stockholm, 1920) p. 337.
Nordensvan, C. O., 'Svenska armén åren 1700-1709' in Karolinska förbundets
årsbok (1916) p. 168. ibid., 'Svenska arméns regementen 1700-1718' in Karolinska
förbundets årsbok (1920) p. 82. Krigsarkivet, Stockholm, Sweden, Rullor
1702:2. Riksarkivet, Stockholm, Sweden, Biografica K3a. Militaria.
Ansökn. och meritförteckningar. Armén M1083. Hartmann, S., Reval im
Nordischen Krieg (Bonn-Godesberg, 1973). Saha, H. Muusikaelust vanas
Tallinnas (Tallinn, 1972). Bundesarchiv, Koblenz, Germany Stadtarchiv
Reval Vol B Stadtmusikanten und Organisten 1527-1837, deren Vokationen und
Supliken, p. 38. Sjögren, O., Försvarskriget i Lifland 1701 och 1702
(Stockholm, 1883) p. 43. ibid. 'W. A. von Schlippenbachs lifländska här' in Historisk
tidskrift (1906) pp. 293 ff.
11. Hjelmqvist, F., Kriget i
Finland och Ingermanland 1707 och 1708 (Lund, 1909). Riksarkivet,
Stockholm, Sweden Biografica K3a Militaria. Ansökn. och meritförteckningar.
Armén M1083.
12. Riksarkivet, Stockholm, Sweden,
Biografica S15. ibid. K3a. Krigsarkivet, Stockholm, Sweden, Arkivfragment.
Lybecker, Georg. Ruuth, J. W., Viborg stads historia. Första bandet
(Helsinki, 1906).
13. Stille, A., Kriget i Skåne
1709-1710 (Stockholm, 1903). Felttoget i Skaane 1709-1710. Bidrag til
den store nordiske krigs historie. Andet bind (Copenhagen, 1903). Tessin,
G., Die deutschen Regimenter der Krone Schweden. Teil II. Unter Karl XI. und
Karl XII. (1660-1718) (Cologne, 1967) p. 335. Krigsarkivet, Stockholm,
Sweden, General Muster Rolle Stockholm d. 12 November Anno 1709. ibid. Likvidationer.
Avräkningskont. No 3133. Karolinska krigares dagböcker. . . X (Lund,
1914). Ljungh, J., Fjelkinge i forna dagar (Helsingborg, 1904) p. 14.
Riksarkivet, Stockholm, Biografica K3a. Militaria. Ansökn. och
meritförteckningar. Armén M1083. Mattheson, J., Grosse
General-Bass-Schule. . . Zweite verbesserte und vermehrte Auflage. . . (Hamburg,
1731) fol. C2r.
14. Broberg, J. V., 'Om pesten i
Stockholm 1710' in Historia kring Stockholm. Vasatid och stormaktstid
(Stockholm, 1966) pp. 116 ff. Kjellberg, E., Kungliga musiker i Sverige
under stormaktstiden. 1 (Uppsala, 1979) pp. 397 ff and 736. Norlind, T.,
'Was ein Organist im 17. Jahrhundert wissen musste' in Sammelbände der IMG
(1905-06) pp. 640 ff. ibid. Från Tyska kyrkans glansdagar, III
(Stockholm, 1945). ibid. Musiken i St Jakobs kyrka och församling. St Jacob
1643-1943 (Stockholm, 1943) pp.
15. Schieche, E., 'Dreihundert
Jahre Glockenspiel der St. Gertruds Kirche' in Deutsches Gemeindeblatt
41 (1966) pp. 66 ff. Camp, J. Bell ringing (Newton Abbot, 1974) pp. 110
ff. Holmbäck, L. M., Klockor och klockringning (Stockholm, 1951) pp. 48
ff. Kjellberg, E. Kungliga musiker i Sverige under stormaktstiden, 1
(Uppsala, 1979) p. 252. Lindgren, A., Musikaliska studier (Stockholm,
1896) p. 244. Stadsarkivet, Stockholm, Sweden, Tyska församlingen LIa
and LIf.
16. Stadsarkivet; Stockholm,
Sweden, Mantalslängd för Stadens södra qvarter 1711, p. 50. Riksarkivet,
Stockholm, Sweden, Biografica K3a.
17. Stadsarkivet, Stockholm,
Sweden, Jakob och Johannes församlingar KIII:1 fols. 117-117v, 119-119v,
124, 126v, 133v. ibid. LIa:71 [1711] pp. 5, 229, 331. ibid. LIa:72
[1712] pp. 3. ibid. LIa:73 [1713] p. 13. ibid. LIa:74 [1714] p.
7. ibid. LIa:75 [1715] p. 7. Kellner, D., Da Ihro Konigl. Majestät
Der Gross mächtige Carolus der XIIte. . . Im November des 1714. Jahres. . . Aus
der Türckey In Dero Erb-Ländern Wieder ankam (Stockholm, 1714). ibid. Untherthänigste
Zeilen bey Der hohen Vermählung des Durchlauchtigsten Fürsten und Herrn
Friederichs. . . und Ihro Königl. Hoheit der Durchlauchtigsten Princessin
Ulrica Eleonora. . . Anno 1715 (Stockholm, 1715). Kjellberg, E. op. cit.
pp.
18. Helenius-Öberg, E. 'En
drottnings jordafärd. Hovkapellet vid Ulrika Eleonoras d.y. begravning 1742' in
Svensk tidskrift för musikforskning 2002, p. 29. Stadsarkivet, Stockholm,
Sweden, Jakob och Johannes församlingar KIII:1 fols. 138-139, 142-142v,
144-145v. LIa:81 pp.
19. Kellner, D., Der
frohlockende Parnassus in einem musicalischen Concert, am höchst-erfreulichen
Nahmens-Tage des Grossmächtigsten Königes Friderici I. . . (Stockholm,
1720). Vretblad, P., Konsertlivet i Stockholm under 1700-talet
(Stockholm, 1918) pp. 18 and 137. Klemming, G. E., Sveriges dramatiska
litteratur till och med 1875. Bibliografi (Stockholm, 1879) p. 507.
20. Helenius-Öberg, E. Johan
Helmich Roman. (Stockholm 1994) pp. 118-119
21. Kyrckio-Andacht under Musique
uti Sanct. Jacobi Kyrckia på Hel. Tre Enighetssöndagen i Hög-Mässan. . . (Stockholm, 1720). En öfwer
sin tros swaghet sörjande men af Thomæ Exempel sig tröstande siäl förestält i
en musicalisk-Andacht på söndagen-Quasimodogeniti,som är den första Söndagen
effter Påska uti Sanct. Jacobi Kyrckia här sammastädes (Stockholm, 1723). Fägne-Rop,
framtedt Under en Kyrckio-Musique på Christi Intogs-Fäst eller Den första
Söndagen i Advent i St. Jacobi-Kyrckia, Åhr 1724 (Stockholm, 1724). Musicaliskt
Offer Uppå H. Christi Himmelfärdz-Dag Anno 1725 i Högmässan Uti St. Jacobi
Kyrckia Herranom framburit (Stockholm, 1725). Christelig Lofsång På All
Helgona Dag Genom en Kyrckio-Musique Hållen Uti St. Jacobs Kyrckia, Åhr 1726
(Stockholm, 1726). Walther, J. G., Musicalisches Lexicon Oder Musicalische
Bibliothek. . . (Leipzig, 1732) pp.
22. Nova literaria maris balthici.
. . (Lübeck, 1704). Busch, N., 'Alt-Rigas Musikkultur' in Baltische
Monatshefte 1937 pp. 642 ff. Freytag, W., Musikgeschichte der Stadt
Stettin im 18. Jahrhundert (Stettin, 1936) pp. 3 ff. Rosenmüller, M., Johann
Ulrich von König. Ein Beitrag zur Litteraturgeschichte des 18. Jahrhunderts
(Leipzig-Reudnitz, 1896). Gerber, E. L., Neues historisch-biographisches
Lexikon der Tonkünstler. Dritter Theil (Graz, 1966) pp.
23. Hülphers, A. A., Historisk
Afhandling om Musik och Instrumenter. . . (Vesterås, 1773) pp.
24. Mattheson, J., Grosse
General-Bass-Schule. . . (Hamburg, 1731).
24b.
25. Stadsarkivet, Stockholm,
Sweden, Huvudbok med verifikationer över allmänna bevillningen 1725, fol.
6v. ibid. Tyska församlingen KIIIc:2:4 no. 219. ibid. Jakob och
Johannes församlingar KIII:2 pp. 3, 9-11, 22, 32, 36. Kungl. biblioteket,
Stockholm, Sweden, Ch. Eichorn konsthist. saml. I 15:6. Musici.
Wittingh, F. L., St. Jacobs Minne, eller Historisk berättelse om St. Jacobs
och Johannis Församling i Stockholm (Stockholm, 1771) p. 69. Text Til
Kyrckio-Musiquen då superintendenten i Wester-Norlanz Stift, Den Högwyrdige och
Höglärde Herr Nicolaus Sternell sin kära St. Jacobi Församling här sammastädes på
den andra söndagen effter Påska eller Misericord Domini År 1728 valedicerade
(Stockholm, 1728). Text Til Kyrckio-Musiquen Då Pastoren af Fransöska
Församblingen härsammastädes Den Hög-Ehrewyrdige och Höglärde Herren, Herr Mag.
Laurentius Amel Til Kyrckio-Herde Af St Jacobi och Johannis Församblingar
kallad Och sedan På den siette Söndagen efter Påska eller Exandi; År 1728.
Inwigdes (Stockholm, 1728). Stadsarkivet, Stockholm, Sweden, Erik Ekholm
Samling til et Svenskt Musicaliskt Bibliothek. . . År 1779, p. 17. Kellner,
D., Trogen Underrättelse Uti General-Basen. . . (Stockholm, 1739) p. 29.
The Music Library of Sweden, Stockholm, Handskrift 33, pp. 314, 595.
Gerber, E. L., Neues Historisch-Biographisches Lexikon der Tonkünstler,
1 (Graz, 1966) col. 196. Eitner, R., Biographisch-Bibliographisches
Quellen-Lexikon, 3 (Graz, 1959) p. 75. Arnold, F. T., The Art of
Accompaniment from a Thorough-Bass. . . (London, 1961) p. 322. Adlung, J., Anleitung
zu der musikalischen Gelahrtheit. . . (Erfurt, 1758) p. 634.
26. Riksarkivet, Stockholm, Sweden,
Militaria. Ansökn. och meritförteckningar. Armén M1083. Stadsarkivet,
Stockholm, Sweden, Mantalslängd 1731 Stadens södra kvarter fol. 19.
ibid. Tyska församlingen LIa2 pp. 90 ff.
27. Björkbom, C., 'Svenskt
musiktryck' in Nordisk boktryckarekonst 38(1937) p. 57. Wiberg, A., Den
svenska musikhandelns historia (Stockholm, 1955) p. 95. Cannon, B. C., Johann
Mattheson - Spectator in Music (New Haven, 1947).
28. Nieder-Sächsische Nachrichten
Von Gelehrten neuen Sachen. . . No XXIX (10 April 1732) pp.
29. Fridell, op. cit.
30. Kellner, D., Treulicher
Unterricht im General-Bass. . . (Hamburg, 1732). Smith, D. A., 'Sylvius
Leopold Weiss' in Early Music 8(1980) pp. 47 ff. Sparr, K., 'A Poet's
Description of the Lute Playing of Silvius Leopold Weiss, and a possible Link
Between Weiss and David Kellner' in Journal of the Lute Society of America
19(1986) pp. 58 ff. ibid. 'Es soll nur Sylvius die Laute spielen" - en
okänd dikt om Weiss spel på luta och ett möjligt samband mellan Weiss och David
Kellner' in
31. Kellner, D., Treulicher
Unterricht im General-Bass. . . Zweyte und vermehrte Auflage (Hamburg,
1737).
32. Stadsarkivet, Stockholm,
Sweden, Tyska församlingen LIa2 90-93. ibid. Taxeringslängd. . .
Stockholms. . . östra. . . . quarter 1735, fol. 33. Bengtsson, I. and
Danielsson, R., Handstilar och notpikturer i Kungl. musikaliska akademiens
Roman-samling (Uppsala, 1955) p. 11. Walin, S., Beiträge zur Geschichte
der Schwedischen Sinfonik (Stockholm, 1941) p. 63. Kellner, D., Trogen
Underrättelse uti General-Basen. . . (Stockholm, 1739). Stockholms
Post-Tidningar 1739: no 2 (25 April), no 52 (5 July), no 88 (8 November);
1740: no 36 (12 May); 1741: no 35 (4 May); 1742: no 7 (28 January) and 1748: no
33 (25 April). Universitetsbiblioteket, Gothenburg, Sweden, Handskrift Heh
8:0 12. The Music Library of Sweden, Stockholm, Handskrift 40. ibid.
Handskrift 82. Wiberg, A., Den svenska musikhandelns historia
(Stockholm, 1955) p. 370. Nordenfelt-Åberg, E., Att spela cembalo - en
elementär handbok (Stockholm, 1979) p. 142. Davidsson, Å., Studier
rörande svenskt musiktryck före år 1750 (Uppsala, 1957) pp.
33. Riksarkivet, Stockholm, Sweden,
Militaria. Ansökn. och meritförteckningar. Armén M1083. Tallinna Linna
Riiklik Keslarhiiv, Tallinn, Estonia, F. 31 Kirchengemeinde zu St. Nikolai
in Reval Reg. 1 No 28 p. 319.
34. Stadsarkivet, Stockholm,
Sweden, Mantalslängder 1741. Åbo landsarkiv, Turku, Finland Serie III
I:6 Åbo Domkyrkas föreståndares arkiv, vol. III Hf 2. Kellner, D., D.
Kelner, korte en getrouwe onderregtinge van de generaal bass of bassus
continuus. . . (Amsterdam, 1741). ibid. Treulicher Unterricht im
General-Bass. . . Dritte Auflage (Hamburg, 1943). Stadsarkivet, Stockholm,
Sweden, Jakob och Johannes församlingar KIII:2 pp. 108, 114.
Riksarkivet, Stockholm, Sweden, Biografica K3a. Andakts Upmuntran På Första
Söndagen I Advent, Musicaliter upfördt Uti St. Jacobi Församling Då Kyrkans
första Jubel-År firades Anno 1743 Af Ferdinand Zellbell, Junior (Stockholm,
1743). Morin, G., 'Bidrag till kännedom om 1700-talets svenska koralboksarbete'
in Tidskrift för kyrkomusik och svenskt gudstjänstliv (1933) pp. 155 ff.
Norlind, T., 'Abraham Abrahamsson Hülphers och frihetstidens musikliv' in Svensk
tidskrift för musikforskning 19(1937) p. 42.
35. Stadsarkivet, Stockholm,
Sweden, Jakob och Johannes församlingar KIIIa:2 p. 125. ibid. Tyska
församlingen KIIIc:2:4 p. 94, KIIIc2:6 p. 93 and LIf:57 No 313.
ibid. Bouppteckningar 1748/2 fols. 645-649, 660-674.
35b. Jan Burgers has kindly
supplied me with this information.
36. Kellner, D., XVI.
auserlesene Lauten-Stücke, bestehend in Phantasien, Chaconnen, Rondeau, Giga,
Pastorel, Passe pied, Campanella, Sarabande, Aria & Gavotte (Hamburg,
1747). Stadsarkivet, Stockholm, Sweden, Bouppteckningar 1748/2 fol. 674.
Wienandt, E., 'David Kellner's Lauten-Stücke' in Journal of the American
Musicological Society 10 (1957) pp. 29 ff. Eitner, R., Biographisch-Bibliographische
Quellen-Lexikon 5 (Graz, 1959) p.340. Biblioteka Uniwersyteka, Oddzial
Zbiorów, Wroclaw, Poland, Ms. Mf. 2002 (60019 Odds. Mus.). Biblioteka
Uniwersytecka, Warsaw, Poland, MS 2008 (RM 4140) and MS 2009 (RM
4141). Bayerische Staatsbibliothek, Munich, Germany, Ms.mus.5362.
37. Stadsarkivet, Stockholm,
Sweden, Register till Tyska församlingens begravningsbok 1747-1791 p.
84. ibid. Bouppteckningar 1748/2 fols. 645-689v, Lüdecke, J.A.A., Dissertatio
historica de ecclesia teutonica et templo S:tae Gertrudis Stockholmiensi. . . (Uppsala,
1791) p. 66.
38. Kellner, D., Treulicher
Unterricht im General-Bass. . . Vierte Auflage (Hamburg, 1749). ibid. Fünfte
Auflage (Hamburg, 1767). ibid. Sechste Auflage (Hamburg, 1782).
ibid. Siebente mit vierzehn Melodien von C. P. E. Bach vermehrte Auflage
(Hamburg, 1787). ibid. [Eight edition] (Hamburg, 1796). ibid. Vernoe
nastavlenie v socinenii general-basa. . . (Moscow, 1791).
39. Bengtsson, I., J. H. Roman
och hans instrumentalmusik (Uppsala, 1955) p. 67. Helenius-Öberg, E. Johan
Helmich Roman... (Stockholm 1994) p. 94., 186.
39a. Türk,
D.G. Verzeichnis der musikalischen
und andern Bücher, so wie auch der gedruckten und geschriebenen Musikalien
des seligen Professor der Musik und Universitäts-Musikdirector
Dr. Türk, welche in Halle an der Saale den 13. Januar 1817 und folgende Tage
Nachmittags von 2-5 Uhr auf der grossen Steinstrasse Nr. 176, gegen gleich baare Bezahlung in Preuss. Cour.
Meistbietend versteigert werden sollten. Das Verzeichnis ist auf dem Markte Nr.
738 zu bekommen. (Halle, 1816. Facsimile
Amsterdam 1973) p. 16.
40. Mizler, L., Musicalische
Bibliothek oder Gründliche Nachricht, nebst unpartheyischen Urtheil von Musikalischen
Schrifften und Büchern, Erster Band. . . Erster Theil (Leipzig, 1736) pp.
25 ff. ibid. Des dritten Bandes Zweyter Theil. . . (Leipzig, 1746) p.
252. Adlung, J., Anleitung zu der musikalischen Gelahrtheit. . .(Erfurt,
1758) p. 634. Schröter, C. G., Deutliche Anweisung zum General-Bass. . . (Halberstadt,
1772) p. IX.Geiringer, K., Haydn - A Creative Life in Music 3rd rev. ed.
(Berkeley, 1982) pp.
Additons, corrections are most welcome to
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