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Choralbearbeitung "Was Gott tut das ist wohlgetan"

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Uploaded by: NeoBarock (09/08/22)
Composer: Johann Peter Kellner
Sample Producer: Piotr Grabowski
Sample Set: Eisenbarth, Friesach (2000)
Software: GrandOrgue
Genre: Baroque
Description:
For a change, here is a very beautiful piece by Johann Peter Kellner instead of my composition.
I have recorded the parts individually "live", made a few corrections and helped a little with the ornaments (not much, I promise).

Johann Peter Kellner was the eldest of five children of Peter Kellner, a pine soot merchant, and Margaretha Kellner, née Wuckel. His first teacher was the Gräfenröder school servant (Schulmeister) and organist Peter Nagel.

From 1723 to 1724 he received lessons from the organist Johann Jacob Schmidt in Zella (interesting in this context is the fact that Bach took up his Thomaskantor position in Leipzig in 1723).

Kellner spent another year in Suhl, where he received composition lessons from Hieronymus Florentinus Quehl, cantor at the main church of St. Mary in Suhl. That Kellner was also a pupil of Johann Sebastian Bach is a widespread opinion, but it was never claimed by him and has not yet been supported by sources. From 1725 to 1727 Kellner was school servant and organist in Frankenhain, and from 1727 until his death school servant, cantor and organist at the church of St. Laurentius in his home village of Gräfenroda.

He enjoyed a considerable reputation as an organist and teacher, which brought him a large number of pupils, the best known of whom was probably Johann Philipp Kirnberger. Other pupils included Johannes Ringk, the composer of BWV 565 and later organist at St. Marien in Berlin, his son, the composer Johann Christoph Kellner (1736-1803) and his older brother, the Gotha court organist and composer Johann Andreas Kellner (1724-1785).

It has recently been suggested that the famous Toccata and Fugue in D minor BWV 565 may have been written by Johann Peter Kellner or his circle. The fact that it is written in the middle of the 18th century and that it calls for a major C-sharp, which was almost non-existent on organs of the early 18th century, speaks against a work of Bach's youth.
Performance: MIDI
Recorded in: Stereo
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