Scan 40
Groves Dictionary Of Music And Musicians,vol.3, 1907
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1end of the 17th century. In conjunction with Godfrey Finger he produced 'A set of Sonatas in five Parts for Flutes and Hautboys.' With this date John Cullen issued an engraved folio, A Complete Method for Attaining to Play a Thorough-Bass upon either Organ, Harpsicord, or Theorbo Lute, by the late famous Godfrey Keller. This, in its day, was a greatly esteemed work, and in 1731 it was reprinted in full, with corrections, as an appendix to Holder's Treatise on Harmony.
3F. K.
4A set of six suites for 2 violins and flutes in unison, with violins ad lib and bass, MS. from the Granville Library, is now in private hands.
6E. v. d. s.
8KELLER, KARL (b. Dessau, Oct. 16, 1784; d. Schaffhausen, July 19, 1855), a famous flute virtuoso, son of the court organist and chamber musician, Joh. Gotthilf Keller. He was engaged successively at the courts of Berlin (till 1806), Cassels (till 1814), Stuttgart (till 1816), Donaueschingen, where he was also Kapellmeister at the theatre, and his wife (Wilhelmine Meierhofer) operatic singer, 1817–49. In the latter year he retired to Schaffhausen on a pension. Keller composed chiefly for the flute (concertos, solos, etc.), and songs, some of which attained to great popularity (Mendel).
10KELLEY, EDGAR STILLMAN (b. Sparta, Wisconsin, U.S.A., Apr. 14, 1857), an American composer and writer on musical subjects. He was a pupil, first, of F. W. Merriam, from 1870–1874; then of Clarence Eddy and N. Ledochowski in Chicago for two years. He went then to Stuttgart, where he studied for four years under Seifriz, Krüger, Speidel and Friedrich Finck. Kelley spent much of his time, upon his return to America, in California, acting as organist in San Francisco and Oakland, and as music critic, from 1893–95, for the San Francisco Examiner. While there he devoted some attention to study of the music of the Chinese, who dwell in large numbers on the Pacific coast. The influence of these observations is seen in his 'Aladdin' suite, in which he has used Chinese motives. In 1890 he conducted a comic operetta company in the eastern States, and in 1892 he brought out a comic operetta of his own, entitled 'Puritania,' in Boston, where it had a success that was denied to it in other cities. In 1901–02 he was acting professor in Yale University. He taught pianoforte and composition in Berlin from 1902–10. Since 1910 he has been teacher of composition in the Cincinnati Conservatory and has held a fellowship from the Western College for Women at Oxford, Ohio, to enable him to devote himself to composition. Kelley's compositions, which are chiefly in manuscript, include, beside 'Puritania,' op. 11, and 'Aladdin,' op. 10, incidental music to Macbeth for orchestra and chorus, op. 7; incidental music to the play of Ben Hur, op. 17, for orchestra, solos, and chorus; a pianoforte quintet; an original theme with variations for string quartet, op. 1; a Wedding Ode for tenor solo, male chorus and orchestra, op. 4; 'Pilgrim's Progress,' a cantata; 'Gulliver,' a symphony; 'New England Symphony'; quintet for pianoforte and strings; quartet for strings; and a number of songs and pieces for the pianoforte. He published, in 1913, Chopin the Composer.
12R. A.
13KELLNER, DAVID (b. Leipzig, 1670; d. Stockholm, Apr. 6, 1748), organist and carillon-player at the time of his death. He was a captain in the service of the town of Hamburg, and an excellent musical theorist and lute-player. He went later into Swedish service, and was Kapellmeister at the German church at Stockholm (c. 1745). His Treulicher Unterricht im General-Bass (instructions in thorough-bass), Hamburg, 1732, appeared in many editions, the last being in 1797, and was translated into Swedish and Dutch. Thelemann wrote a preface to the second edition, and Dan. Solander of Upsala to the third, but Mattheson apparently wrote an adverse criticism. Kellner wrote also a book of lute pieces (1747).
15E. v. d. s.
17KELLNER, (1) JOHANN PETER (b. Gräfenrode, Thuringia, Sept. 24, 1705; d. there, 1788), received his musical instruction chiefly from J. C. Schmidt, the organist of Zella St. Blasii, by whom he was early introduced to the works of Sebastian Bach. In 1725 he obtained the post of cantor at Frankenhain, but exchanged it in 1728 for a similar post at his birthplace, where, in spite of many tempting offers elsewhere, he remained till his death. It was his pride in later days to recall his personal acquaintance with Bach and Handel. For them and their works he always expressed the utmost veneration, and we owe the preservation of some of Bach's works to copies made by him. We are also told that once when Bach happened to come into the church where Kellner was playing, Kellner improvised in a masterly way a fugue on the theme b-a-c-h. From Kellner's manuscript of 1738 Spitta has printed Bach's Vorschriften und Grundsätze zum vierstimmigen Spielen des General-Bass oder Accompagnement für seine Scholaren in der Musik.1 Kellner's own published works are:
191. 'Certamen musicum bestehend aus Präludien, Fugen, Allemanden,' etc., in six Suites (Arnstadt, 1739–49). Another edition in eight Suites (1749–56).
202. 'Manipulus Musices oder eine Hand voll kurzweiliger Zeitvertreib vors Clavier' (Arnstadt, 1753–56), four pieces partly Suites, partly Sonatas.
213. Two Choralbearbeitungen for two Clav. and Pedal. Other organ works and church cantatas exist in MS
23Seiffert2 expresses the opinion that Kellner's clavier works have been most undeservedly neglected by modern collectors and editors of the older music. He reckons the suites, more especially, as among the best of those produced after the form had been perfected by Muffat
251 See Appendix xii. Spitta's Bach, Eng. trans. vol. iii. p. 815 ff.
262 Geschichte der Klaviermusik, Bd. I. p. 361 ff.
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