Trogen Underrättelse uti General-Basen … af D. K. Men nu sedermera af Autoren sielf tillökt och förbättrad, samt til Fädernes Landets tienst och nytta, med egen Bekostnad på Swänska öfwersatt och til Trycket befordrad. Af J[onas]. L[ondée]. …

Stockholm, widow of Benjamin Gottlieb Schneider, 1739.

4to, pp. [8], 98, [6]; woodcut musical notation throughout, 3 engraved diagrams in the text, that on p. 6 complete with volvelle (a diagram showing the relationship between any given tonic and the 11 other notes of the chromatic scale); old paper repair to margin of final leaf, light dampstain to upper edge of gatherings I–N, but a very good copy in contemporary marbled wrappers, spine faded; Fideikommissbibliotek bookplate.

£1200

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US $1560€1388

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Trogen Underrättelse uti General-Basen … af D. K. Men nu sedermera af Autoren sielf tillökt och förbättrad, samt til Fädernes Landets tienst och nytta, med egen Bekostnad på Swänska öfwersatt och til Trycket befordrad. Af J[onas]. L[ondée]. …

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First edition in Swedish – the first music method to be published in the language – of the author’s popular thorough-bass manual, Treulicher Unterricht im General-Bass (Hamburg, 1732).

Born in a village near Leipzig, Kellner (c. 1670–1748) studied in Turku (Åbo) and Tartu, and served in the Swedish army until about 1711 when he took up the post of organist at the Jacobskyrka in Stockholm. It was there that he wrote the Treulicher Unterricht. Kellner ‘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 …

‘Jonas Londée [music copyist at the Hovkapell] was responsible for the Swedish translation [but] 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 mentioned earlier, it was 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 expresses in his preface [new to the present edition]. 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’ and while no further editions followed, ‘it must have exerted a considerable influence in Sweden, being the only available method of its kind during the eighteenth century, and it was used well into the nineteenth century. Several manuscript versions of it were done and it is referred to in many eighteenth-century Swedish sources, printed as well as manuscript’ (Kenneth Sparr, ‘David Kellner: a biographical survey’, online).

‘The long-lived popularity of Kellner’s treatise, especially in Sweden, where it was almost the only instructional work of its type in use for a long period, can be explained by its brevity (less than 100 pages) and the conciseness of the explanations. The work stands in marked contrast to the more important thoroughbass works of the period by Mattheson and Heinichen, which were exceedingly complex, lengthy and undoubtedly expensive’ (New Grove).

OCLC lists the copy at the National Library of Sweden only.

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