Already in his early childhood, he received violin and piano lessons. After attending grammar school in Coburg he went to Johann Peter Kellner after Gräfenroda to perfect his knowledge of music. A later teacher and promoter was the court organist Gerber in Sondershausen.
For the year 1741 a short stay Kirnberger in Leipzig is documented. One possible theory with Johann Sebastian Bach is controversial and not assignable. After a short stay in Dresden he went for a longer period ( 1741-1751 ) to Poland, where he worked in various positions including as harpsichordist and conductor.
The mid-50s of the 18th century KirnBerger returned to Germany to take lessons in violin playing. Following a stint as a violinist in the royal chapel in Potsdam, he later joined the chapel of Margrave Heinrich in Rheinberg. Until his death, he then took the position in 1758 as a teacher of composition at Anna Amalia of Prussia true and acted beyond as conductor and musical advisor at the Prussian court. During this time, the majority of his compositions was born.
The musical work of KirnBerger is currently experiencing a renaissance. His chamber music, which consists primarily of flute sonatas and trio sonatas, some is full of surprises, such as a flute sonata in E-flat minor, which can probably be described as Kirnberger important work. A complete edition of the flute sonatas and other works of KirnBerger appeared in Amadeus Verlag (Winterthur, Switzerland ).
KirnBerger has constructed a total of three tempered tunings. The most balanced, third mood is often referred to as Kirnberger tuning.
By Kirnberger collecting activities a number of works by Johann Sebastian Bach has been handed down - the best known is the so-called KirnBerger collection with the Chorale Preludes BWV 690-713.
- Sinfonia for 2 horns, strings and basso continuo in D major
- Sinfonia in B flat major
- Sonata No. 1 for Flute and Bass Continuo in C major (Berlin 1767, Wever )
- Sonata No. 2 for flute and bass continuo in C major (Berlin, 1769, Winter )
- Sonata No. 3 for flute and bass continuo in E flat minor
- Sonata No. 4 for flute and bass continuo in E minor
- Sonata No. 5 for flute and bass continuo in F major (Berlin 1763, Birnstiel )
- Sonata No. 6 for flute and bass continuo in G major (Berlin 1761, Birnstiel )
- Sonata No. 7 for Flute and Bass Continuo in G major (Berlin 1767, Wever )
- Sonata No. 8 for flute and bass continuo in G major (Berlin, 1769, Winter )
- Sonata No. 9 for flute and bass continuo in G minor (Berlin 1761, Birnstiel )
- Sonata No. 10 for flute and bass continuo in B flat major (Berlin 1763, Birnstiel )
- Sonata No. 1 for Violin and Basso continuo in C major
- Sonata No. 2 for Violin and Basso continuo in C minor
- Sonata for cello and basso continuo in C major (Berlin, 1769, Winter )
- Sonata for Oboe and Basso continuo in B flat major (Berlin, 1769, Winter )
- 10 Trio Sonatas for flute / violin, violin and basso continuo
- Piano Sonata in D Major
- Piano Sonata in G Major
- Musicalischer Circul A Minor
- Eight Fugues for Piano ( Harpsichord ) and organ
- 10 Variations on " I slept because I dreamed "
- " Blessed are You, Jesus Christ ," Orgelchoral
- " What God does is well done ," Orgelchoral
- " Have mercy on us God," motet according to Psalms 50 and 51
- The always ready Polo Noisen and Menuettencomponist (1757 )
- Construction of equal temperament ( c. 1760),
- Notes on the Allabreve the Lord KirnBerger in the third collection of Marpurg clavier ( 1763)
- 112 musical items in Part 1 (letter AI) by JG Sulzer, General Theory of the Fine Arts ( 1771)
- The art of the pure rate in the music in 2 parts ( 1771/76-79 )
- The true principles for the use of harmony (1773 ), written by JAP to Kirn Bergers lessons Schulz
- Principles of continuo as the first lines to the composition (1781 )
- Thinking about the different teaching styles in the composition in preparation for joint knowledge ( 1782 )
- Instructions for Singecomposition with Oden in different Sylbenmaaßen accompanied ( 1782 )
- Method, sonatas aus'm Ermel to schüddeln (1783 )