Keilwerth

The Keilwerth brothers were three: Max, Richard and Julius, this last began in early years of XIX century to work for KOLHERT company at Graslitz then in Czechoslovakia, this was first most important Firm for winds musical instruments in Germany; after this experience Julius and Max established their own workshop in 1925 just in their home.
In a first time they worked for many other small Companies or factories dislocated in Markneükirche- Germany, historic location of most important craftsmen and woodwinds/brasswinds in Germany, at 30 miles ca. from Graslitz, particularly for ADLER small and well-known musical instruments brand left after WWII and also for F.X.HǗLLER another small maker Max K. developed saxophone production in about 1923-’25; Max and Julius worked also for SELMER building the “Pennsylvania-Special” models.

“EARLY MODELS”_ It’s possible to find it with different various names as “King”, “Soloist”, “Deluxe”, “Exclusiv”, the same “Pennsylvania special” (Keilwerth stencilled) it can be considered among early Keilwerth saxophones.
All these models seems very influenced by Usa saxophones, especially from CONN-NewWonder models, not only about mechanics but also for any innovations as “microtuner neck” and “rolled tone holes”.
Many saxophones made in Germany since 30’s are very similar or equals, really they’re just few factories which make saxophones in Germany during these years, first of all Keilwerth brothers and Kohlert company they worked with.
In fact Julius K. began to work often giving sax Bodies and parts to some German brands, these last added only keys-mechanism and finishing, all began before and after WWII.
Before of WWII J.K. became one of most important saxophone maker in Germany, he had at this time around 150 workers, except for Kohlert Co. which had ca. 600 employees, there was no other comparable musical industries.
During war time there’s no informations about Keilwerth co., it’s known Nazi regime judged saxophone like a menace of “degenerate” West, but it’s real few companies still continued to make saxophones.
After war in 1948 Keilwerth co. dislocated in East Europe in Czechoslovakia was nationalized like other firms as “Amati”, F.X.Hüller, Kohlert which formed together a collective combine.
Richard K. just worked for “Amati” since 1949, Max K. since ’51; just Amati co. continued using for his saxophones models frequently same name of Keilwerth “Toneking” models; actually you can see many similar saxophones Amati or Keilwerth named “Toneking”.
IN 1947 Julius Keilwerth escaped to Nauheim in Germany where he returned to his activity with a new factory.
In 1962 he passed management to his son Josef.
Max K. during 50’s left Amati going to Germany, here he continued buiding saxophones for HOHNER Company since 1967, particularly creating a very good sax model “the President”.
Richard K. also left Amati moving to Markneükirchen in Germany where he established his factory building woodwind instruments, especially clarinets; he continued making saxophones for other companies,particularly for WELTKLANG Co. (already F.X.Hüller co.) in following renamed “B&S” Comp. (a division of JA-Musik).
KEILWERTH MODELS_
After early models, the most important saxophones produced by J.Keilwerth co. are 2 models:
“TONEKING” and “NEW KING” (from end of 30’s to 70’s): there are many versions of these models as the “Special” or the “EX” (Exclusiv) models, relly equals; on many saxophones it’s possible find “rolled tone holes” on each other no more.
They were made Bb Soprano, Alto, Tenor and Baritone models.
Lonely and regular diffenece about TONEKING and NEW KING Models (except for “Special” of both) was the High F#-Key usually absent on “NewKing”.
Really the “NewKing” could be considered as “younger brother” of “Toneking”, built poorest tools, materials relating to other model, however 2 models were equals except for engraving/name on bell.
Then high F# key was introduced on these models just few years before war.
Over all saxophones is engraved the characteristic brand “JK – the Best of the world” written inside a circle, it was Julius K signature.
There are 4 SERIES of these saxophones and looking easier to “NEW KING” it’s possible make a difference between:
“SERIES I” (from 10xxx to 20xxx ca.) _ Maybe the nicest models, built insecon half of 30’s, with beautiful Bell engravings, a Key correcting high E, with microtuner neck / rolled tone holes too.
“SERIES II” _ They were made probably from 500 to 1000 examples after WWII, just before/after Julius escaped in Germany.
They’re totally different by early first models, they missed “rolled tone holes” but had “bevelled tone holes” like Martin or Couesnon saxophones in this period.
It’s possible to meet also “Toneking-AMATI” models, a Keilwerth copy and on each other of them to see the JK signature.
“SERIES III” (from 21xxx to 45xxx ca.) _ It begins to find the characteristic beautiful “Angel-Wings” Keys-Guards (on Alto-Tenor models) describing an half-arc over all Bell-Keys till low C key, made of Plexiglas or metal.
Missing the mictoruner neck, on many models there’re rolled tone holes.
“SERIES IV” (from 45xxx to 905xx ca.)_ There’s no important changes regards to previous models, however were used poor materials and finishings, the “angel-wings” key-guards is missing.
About differences among AMATI and KEILWERTH “Toneking”, frequently (not always) on Amati saxophones there’s not JK signature and microtuner, never also the “angel-wings” keyguards and finishing are poor relating to Keilwerth models.

Present models “ST-90”, “SX-90”, “EX-90”(rolled tone holes) made in Series I-II-III-IV of last years can be considered as an evolution and involving of previous “Toneking”/”NewKing”.
In 1989 Keilwerth was purchased by Boosey&Hawkes company, and these last in 2003 sold Keilwerth to T’M Musical group.

KEILWERTH-“Stencil” Models:
Before war K. made saxophones for many German manufacturers, maybe producing also for Brands referable to same K. as “DORFLER-JURKA saxophones.
The collaboration with SELMER began in 20’s and also in following years since 50’s, with alto, tenor, Baritone models made by Keilwerth.
It was the 50’s model “BUNDY-“ or “BUNDY-Special-H&A SELMER”, they are same “Toneking” seriesIV, sold as intermediate-student model but very appreciated for quality and sound; on these we can find they’re marked “made in Germany” too.
Also BOOSEY&HAWKES co. after war asked saxophones to K., they’re intermediate level models, each one produced also with brand “Champion”.
Keilwerth Co. From 1965 to ’86 made for Herbert Couf director of WT-ARMSTRONG Co., 3 sax models marked “H.COUF-“ “SUPERBA I”, “SUPERBA II”, “ROYALIST”, also these very similar to “Toneking-Special” (Superba I) and “Toneking” (Superba II) this one without high F#-key.
In 60’s-70’s also KING-H.N.White imported Keilwerth saxophones, the “KING-TEMPO” models, very good quality instuments, similar to “NewKing-seriesIV”.
Recently in 1987 they were produced the “PETER PONZOL-KEILWERTH” saxophones, a limited edition of professional models made just for three years.