Johann Peter Kellner (1705-1772) - Cantata Nuptialis

Alles Gute zum Geburtstag Johann Peter Kellner! 🎺🍷

Composer: Johann Peter Kellner (1705-1772)
Work: Cantata Nuptialis 'Es bleibet wohl dabei er weiß in allen Sachen' | a 2 Clarini Tympalo[!] 2 Violin Viola C A. T B | et | Organo obligato
Performers: Anna Kellnhοfеr (soprano); Christoph Dittmаr (alto); Mirko Ludwig (tenor); Ralf Grοbе (bass); Cantus Thuringia; Capella Thuringia; Bernhard Klаpprοtt (organ & conductor)

Painting: Giovanni Battista Tiepolo (1696-1770) - Queen Zenobia addressing her soldiers (c.1727)
HD image: https://flic.kr/p/2rtiQxf
Map: Pieter Schenck (1661-1711) - Illustrissimo principi Ioanni Georgio duci Saxoniae hanc Thuringiae lantgraviatus tabulam omni animi devotione
HD image: https://flic.kr/p/2rtyZo1

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Johann Peter Kellner [Keller, Kelner]
(Gräfenroda, 28 September 1705 - Gräfenroda, bur. 22 April 1772)

German organist and composer. His parents wished him to become a lamp-black merchant like his father, but he was determined to study music. In 1720 he began receiving his initial instruction in music from the Gräfenroda schoolmaster Johann Heinrich Nagel, a pupil of the Gotha court organist Christian Friedrich Witt. He continued his studies with the organist Johann Jacob Schmidt in Zella and received instruction in composition from Hieronymus Florentinus Quehl, who served as the music director at St. Mary’s Church in Suhl. From 1725 to 1727 he was a school caretaker and organist in Frankenhain, and from 1727 until his death in 1772 he was a school caretaker, music director, and organist at St. Lawrence’s Church in Gräfenroda. The fact that Kellner, despite his relatively brief training, was able to attain a very considerable level as a composer is something he owed not least to his contacts with the circle of Bach’s friends. This circle of friends included, along with members of the Bach family, pupils of Johann Sebastian Bach and musical acquaintances such as Jacob Adlung in Erfurt. It is to be assumed that these contacts were established through Johann Bernhard Bach, the organist at St. Michael’s Church in Ohrdruf. In 1790 Johann Ludwig Gerber reported of Kellner: "He was a very accomplished player and a great fuguist on the organ. […] An anecdote about him is told: that when he noticed that Bach had entered the church, he intoned on the organ the subject of a fugue, b.a.c.h., and expounded it after his manner, i.e., with very fine art" (Johann Ludwig Gerber, Historisch-Biographisches Lexicon der Tonkünstler, Vol. 1, Leipzig, 1790, cols. 715 f.). Kellner was famous throughout Thuringia as an organist and teacher. Kellner also played a critical role in the dissemination of the music of J.S. Bach, evinced by the many manuscript copies of Bach's compositions, primarily keyboard and organ works, that stem from his circle. These manuscripts, many of which are in Kellner's hand, often represent the earliest or only source of a work, and they shed light on the chronology, compositional history and authenticity of the music. As a composer, his own compositional efforts largely reflect those of his idol. However, beginning in the 1740s he began to change his style to reflect galant practice. Works in this new style include five keyboard sonatas published in 1752, as well as the compendium 'Manipulus musices' (1752–1759). He also composed a complete cycle of Lutheran church cantatas in 1753, which have been lost. His surviving 36 cantatas demonstrate a growing use of the new stylistic idiom. His son, Johann Christoph Kellner (1736-1803), was also organist and composer, and his brother Johann Andreas Kellner (1724-1785) was organist, horn player and composer.