Thomas D.A. Tellefsen Thomas D.A
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Thomas D.A. Tellefsen Thomas D.A. Tellefsen (1823-1874) complete piano works The story of Thomas Dyke Acland Tellefsen (1823-1874) has a special place in the history of 19th century norwegian music. In his own lifetime he earned an international reputation as a composer, piano virtuoso and teacher, enjoying a close relationship to Chopin both as a pupil and a friend. The connection to Chopin is reflected in several ways in Tellefsen’s music, both in terms of choice of style and genre and by the fact that the majority of his works are for solo piano. Jørgen Larsen was born in 1958 and after winning the Youth Piano Master competition in 1973 he studied under eva Knardahl. He had his debut concert in Oslo’s University Hall in 1979 before being appointed accompanist at what was then Trøndelag Music Conser- vatory, now Institute of Music, nTnU, where he still teaches. Jørgen Larsen is a member of several chamber music ensembles, as well as being orchestral pianist with Trondheim symphony Orchestra. Thomas Dyke Acland Tellefsens (1823–1874) historie er spesiell i 1800-tallets norske musikkultur. I sin levetid ble han internasjonalt kjent både som komponist, klavervirtuos og pedagog, og han opplevde å få et nært forhold til Chopin, både som elev og venn. Tilknytningen til Chopin gjenspeiles på flere måter i Tellefsens musikk, både gjennom valg av stil og genre, og ved at flertallet av verkene er for klaver solo. Jørgen Larsen ble født i 1958, og etter seier i Ungdommens Pianomester i 1973 debuterte han i Trondheim i 1975. Etter studier med Eva Knardahl debuterte han i Universitetets Aula (Oslo) i 1979, før han i 1980 ble ansatt som akkompagnatør ved daværende Trøndelag Musikkonservatorium. Jørgen Larsen er fast medlem av Trondheim Sinfonietta, Trondheim Trio og Trondheim Kvartett og dessuten orkesterpianist i Trondheim Symfoniorkester. 3 hours and 18 minutes of music on 1 disc Jørgen Larsen piano Pure Audio Blu-ray recorded in DXD 24bit/352.8kHz 5.1 DTS HD MA 24/96kHz 2.0 LPCM 24/192kHz + mShuttle MP3 and FLAC EAN13: 7041888516125 80 JørgeN LArSeN 2L- 0 80-PABD made in Norway 20©12 Lindberg Lyd AS 7 041888 516125 Four Mazurkas, op. 1 34 Toccata in F major, op. 22 7:46 01 A major 2:29 02 a minor 2:31 03 e minor 1:44 04 a major 1:24 35 La Petite Mendiante in e minor, op. 23 2:03 05 Nocturne no. 1 in F major, op. 2 4:07 36 Grande Mazurka in B flat major, op. 24 3:56 Four Mazurkas, op. 3 06 G minor 1:34 07 g major 2:00 08 B flat major1:33 09 F sharp minor 3:15 37 Grande Étude in C sharp minor, op. 25 3:06 Three Valses brillantes, op. 5 38 Bruraslaatten (Bridal Tune) in D major, op. 26 3:08 10 A flat major 1:25 11 g major 1:16 12 e minor 3:52 39 Valse in D flat major, op. 27 3:27 13 Tarentelle in e flat major, op. 6 3:10 40 Ballade in C minor, op. 28 4:34 14 Élégie in F minor, op. 7 6:18 41 Marche Triomphale in e flat major, op. 29 5:04 15 Huldredansen (Dance of the Hulders) in g minor, op. 9 2:43 42 Grande Valse no. 5 in F major, op. 30 no. 1 3:28 16 Adagio et rondo in B minor, op. 10 9:22 43 Grande Valse no. 6 in F minor, op. 30 no. 2 3:33 17 Nocturne no. 2 in e major, op. 11 3:39 44 Mazurka/Polskdans in a major, op. 33 4:05 18 Thème original et Fantaisie in B flat minor, op. 12 8:27 45 Au travers d’un songe in a flat major, op. 34 2:47 sonata in C minor, op. 13 19 Allegro moderato 6:33 20 adagio 5:34 21 rondo. Vivace 2:58 46 Capriccio appassionato in B minor, op. 36 4:37 47 Impromptu in g minor, op. 38 3:26 six Mazurkas, op. 14 22 D minor 3:07 23 G major 1:23 24 F minor 3:46 48 Nocturne no. 4 in g flat major, op. 39 5:04 25 F major 2:19 26 D major 2:12 27 C minor 2:08 49 Walhallafesten (The Walhalla Feast) in g minor, op. 40 3:52 Feuillets d’album, op. 16 28 Allegro moderato in B flat major 1:26 50 Mélodies écossaises in a major, op. 42 7:46 29 Lento in a flat major2:49 30 Marche funèbre in C minor 5:53 51 Excercice en sixtes in e major, op. 43 2:29 31 Nocturne no. 3 in g minor, op. 17 4:23 52 Pavane de la reine elisabeth in C sharp minor, op. 44 5:34 32 Grande Polonaise in C sharp minor, op. 18 7:04 53 Valse in a major without opus number 3:03 33 Allegretto in a major, op. 20 2:58 Total Playing Time 3:18:38 Thomas D.A. Tellefsen The story of Thomas Dyke Acland Tellefsen (1823-1874) has a special place in the history of 19th century Norwegian music. In his own lifetime he earned an international reputa- tion as a composer, piano virtuoso and teacher, enjoying a close relationship to Chopin both as a pupil and a friend. The connection to Chopin is reflected in several ways in Tellefsen’s music, both in terms of choice of style and genre and by the fact that the majority of his works are for solo piano. Tellefsen also wrote two piano concertos, the first we know of by a Norwegian composer. In addition, his list of works includes a relatively extensive body of chamber music, seen in the context of Norway at the time. Born in Trondhjem (now known as Trondheim) on 26th November 1823, Thomas Tell- efsen grew up with parents who took a very active part in the musical life of the town. His father, Johann Christian Tellefsen (1774-1857) was an organist, an organ builder, a dealer in musical instruments and was a keen amateur musician in the town’s music society. His mother, Anne Cathrine née Stibolt (1785-1860) was an accomplished pianist and singer, and taught these instruments as well as harp and guitar. Thomas Tellefsen inherited his parents’ interest for music and showed great musical talent at an early age. So great was Thomas Tellefsen’s interest for music that he chose to curtail his studies at Trondhjem Cathedral School in 1840, a year before graduation. After leaving school he took tuition in organ and music theory from another of the town’s famous musicians, organist Ole Andreas Lindeman (1769-1857), and had his debut just one year later on 21st January 1842 at the age of 18. Before travelling to Paris in May that same year, he had two further concerts. The choice of repertoire shows that Tellefsen must have had a relatively advanced technical level and a good knowledge of contemporary virtuoso piano works. At the three concerts he played piano concertos by Hummel and Kalkbren- ner and Fantasi by Herz, all with orchestral accompaniment. Tellefsen’s self-composed variations on Norwegian folk songs show that he also mastered this aspect of the virtuoso tradition of his time. Quite a different side of Tellefsen’s knowledge and fields of interest is expressed in the second of the three concerts when he played J.S. Bach’s prelude and fugue. His interest in 18th century music was to last throughout his life. In Paris Tellefsen came into contact first with the Norwegian-born pianist Charlotte Thygeson (1811-1872), who became his teacher for the rest of the year 1843. Thygeson is described as one of the virtuoso composer Friedrich Kalkbrenner’s very best students, and his connection to her gave Tellefsen the opportunity to attend free lessons with Between 1843 and 1864 Tellefsen visited Norway ten times in all. His visits were always the renowned teacher, since as a poor student he could not afford to pay for tuition. combined with concerts that provided valuable extra income. His breakthrough as a This allowed Tellefsen direct insight into both Kalkbrenner’s piano methods and into pianist in Norway came in 1855, the year he completed a major tour along the coast from contemporary discussions about piano technique. These first years in Paris were marked Trondhjem to Christiania (Oslo). He also gave concerts in Stockholm and Uppsala, in by hard work, illness and shortage of money. Financial donations and fundraising initi- both cases with great success. After concerts in the Stockholm Opera he was given an ated by wealthy music-loving citizens in Trondhjem enabled him to continue his studies audience with the king and also granted membership of the Swedish Musical Academy. in Paris. Over the years Tellefsen received a number of honours for his achievements as a pianist and a composer, and in 1867 he was appointed a Knight of the Order of St. Olav. In his letters home Tellefsen gradually expresses the opinion that teachers like Kalkbren- ner and Herz placed too much emphasis on technique at the expense of the interpretive In 1858 Thomas Tellefsen married the Norwegian singer Severine Bye, who was studying aspect. Thomas Tellefsen soon realised that Frederyk Chopin was expressing something in Paris. Tellefsen was at this stage well established as a composer, pianist and teacher. His special that he wanted to incorporate into his own playing.