Thomas Tellefsen

Thomas Dyke Acland Tellefsen (November 26, 1823–October 6, 1874) was a Norwegian pianist and composer. As a composer Tellefsen wrote 44 opuses:[1] solo piano works, two piano concertos, and chamber music. He dedicated many of his compositions to the Polish, Russian, and French aristocracy.

Thomas Dyke Acland Tellefsen

Life

Thomas Tellefsen, the youngest of six siblings,[1] was born in Trondheim, Norway, where he studied with his father, the organist Johan Christian Tellefsen (1774–1857), and with Ole Andreas Lindeman.[2] Thomas gave his first public concert in his home town in the spring of 1842. Shortly after, he went to Paris, where he became the pupil of his compatriot Charlotte Thygeson, and later attended some of Friedrich Kalkbrenner's classes. During the years 1844 to 1847, he was taught periodically by Frédéric Chopin, who also became his personal friend and had considerable influence on his musical taste, style of playing, and compositions.

Duchess Marcelina Czartoryska took him to the Hôtel Lambert in Paris, where he made his debut as a pianist with great success on 29 April 1851.[3] Soon after that, Tellefsen became regarded as one of the outstanding pianists of his time, and was especially admired as an interpreter of Chopin's music. When Chopin died in 1849, Tellefsen took over some of his teacher's pupils, including Jane Stirling.[3] In the 1850s and 1860s, Tellefsen was regarded as a very successful pianist, and he toured several times in England, Sweden, and Norway. He died in Paris, and is buried at the Cimetière d´Auteuil.

Compositions

Among his published works, Tellefsen wrote sixteen mazurkas, five chamber music works (two sonatas for violin and piano, a sonata for cello and piano, a sonata for two pianos, and a trio for piano, violin and cello), composed between 1854 and 1867. He also wrote two piano concertos, the first in 1848 and the second in 1853, six waltzes, four nocturnes, three études, and a number of larger works and salon pieces, which were written for the teaching of his pupils.

Works with opus number
Title Opus Number Key Tempo markings Genre Year Notes
Quatre Mazurkas 1 No. 1 A major Allegro Piano solo 1849 [n 1]
No. 2 A minor Allegro
No. 3 E minor Moderato
No. 4 A major Moderato
1re. Nocturne 2 — F major Andante cantabile Piano solo 1849 [n 2]
Quatre Mazurkas 3 No. 1 G minor Moderato Piano solo 1849 [n 3]
No. 2 G major Vivace
No. 3 B-flat major Allegro vivace
No. 4 F-sharp minor Mesto
Ave Maria 4 — G major Pas trop lent Vocal music 1850 ca. [n 4]
Trois Valses Brillantes 5 No. 1 A-flat major — Piano solo 1853 ca. [n 5]
No. 2 G major Vivace
No. 3 E major Allegro moderato
Tarentelle 6 — E-flat major Molto vivace Piano solo 1853 [n 6]
Élégie 7 — F minor Molto adagio Piano solo 1853 [n 7]
Concerto pour Piano 8 First movement G minor Allegro moderato Orchestral 1848 [n 8]
Second movement E-flat major Andante
Third movement G minor Allegro
Huldredandsen 9 — G minor Allegro moderato Piano solo 1853 [n 9]
Adagio et Rondo 10 — B minor Adagio Piano solo 1853 [n 10]
2me. Nocturne 11 — E major Andante cantabile Piano solo 1853 [n 11]
Thème Original et Fantaisie 12 First movement B-flat minor Andante Piano solo 1855 ca. [n 12]
Second movement B-flat major Adagio
Piano Sonate 13 First movement C minor Allegro moderato Piano solo 1853 [n 13]
Second movement A-flat major Adagio
Third movement C major Vivace
Six Mazurkas 14 No. 1 D minor Allegro Piano solo 1853 [n 14]
No. 2 G major Leggiero
No. 3 F minor Leggiero
No. 4 F major Moderato
No. 5 D major Allegro vivace
No. 6 C minor Lento simplice
2me. Concerto pour Piano 15 First movement F minor Allegro moderato Orchestral 1853 [n 15]
Second movement E major Adagio
Third movement F minor Tarrentelle
3 Feuillets d'album 16 No. 1 B-flat major Allegro moderato Piano solo 1855 [n 16]
No. 2 A-flat major Lento
No. 3 C minor Marche funèbre
3me. Nocturne 17 — B-flat major Adagio ma non tropo Piano solo 1855 [n 17]
Grande Polonaise 18 — C-sharp minor Moderato Piano solo 1858 ca. [n 18]
Sonate No. 1 pour piano et violin 19 First movement G major Allegro moderato Chamber music 1856 [n 19]
Second movement E-flat major Adagio con molto espressione
Third movement B-flat major Scherzo Presto
Finale G major Allegro vivace
Allegretto 20 — A major Simplice Piano solo 1856 [n 20]
Sonate for Piano et Violoncelle 21 First movement E-flat major Allegro Chamber music 1857 [n 21]
Second movement B-flat major Allegretto
Finale E-flat major Allegro
Toccata 22 — F major Allegro Piano solo 1857 [n 22]
La petite mendiante 23 — E minor Allegro ma non tropo Piano solo 1858 [n 23]
Grande Mazurka 24 — B-flat major – Piano solo 1858 [n 24]
Grande Étude 25 — E major Allegro Piano solo 1858 [n 25]
Bruraslaatten 26 — D major Maestoso Piano solo 1858 [n 26]
Valse 27 — D-flat major Moderato Piano solo 1863 [n 27]
Ballade 28 — C minor Allegretto Piano solo 1860 [n 28]
Marche Triomphale 29 — D major Allegro moderato Piano solo 1861 [n 29]
5me. Grande Valse & 6me. Grande Valse 30 No. 1 F major Moderato Piano solo 1861 [n 30]
No. 2 F minor –
Trio pour Piano, Violon et Violoncelle 31 No. 1 B-flat major Allegro maestoso Chamber music 1862 [n 31]
Scherzo D minor & D major Moderato
No. 3 E-flat major Adagio
Finale B-flat major Allegro
— 32 Berceuse G major Andante Piano solo 1862 [n 32]
Joyeux Refrain D major Allegro 1863
Dans la Vallée A major Andante ma non troppo 1863 ca.
Mazurka (Polskdans) 33 — A major Cantabile Piano solo 1864 [n 33]
Au travers d´un Songe 34 — A-flat major Andante Piano solo 1868 [n 34]
Air de Ballet pour Violoncelle 35 — D minor & D major Allegretto Chamber music 1865 [n 35]
Capriccio appasionato 36 — B minor Allegro non troppo Piano solo 1865 [n 36]
Sonate No. 2 pour piano et violin 37 First movement G major Allegro Chamber music 1872 [n 37]
Interlude E major Andante
Theme Varié E major Andante
Impromptu pour Piano 38 — G minor Allegro Piano solo 1872 [n 38]
4me. Nocturne 39 — G-flat major Andante Piano solo 1872 [n 39]
Walhallafesten 40 — G minor & G major Moderato Piano solo 1870 [n 40]
Sonate pour Deux Pianos 41 — D major Allegro maestoso Piano solo 1872 [n 41]
Melodies écossaises 42 — A major Andante con motto Piano solo 1868 ca. [n 42]
Exercise en sixtes 43 — E major Allegro Piano solo 1867 ca. [n 43]
Pavane de la Reine Elisabeth 44 — E major & D-flat major Andante noblement Piano solo 1870 ca. [n 44]

Works without opus number

Tellefsen's works without opus number are either piano studies or liturgical pieces. His Moderato, written in 1842, is one of his first attempts in composition. Another collection of works consists of twenty-one short fughettas, versetti and cantabile pieces, suitable in length in Roman Catholic and Lutheran services during the time they were written. The versetti are organ verses played in alternation with sung verses of hymns. The preludes were played for organ or piano with pedal. They were used as preludes and postludes, while a cantabile piece might also appear after the sermon as an introduction to the next hymn. Variations on hymn tunes are a much-used form in church services as well.

Title Number Key Tempo markings Genre Year Notes
Valse — A major — Piano solo — —
Moderato — — — Piano solo 1842 —
Choral variations on the hymn "Kimer, I klokker" — G major — Piano solo — [n 45]
Prelude — G major Allegro moderato Piano solo — —
Lento - Allegro moderato - Tempo primo — — — Piano solo — —
Larghetto — — — Piano solo — —
Prelude — G major — Piano solo — —
Suite: Prelude, Versette, Prelude 2, Prelude da capo — G minor — Piano solo — —
Fughetta'r, Versettes & Cantabilla Fughetta I C major — Piano solo — [n 46]
Fughetta II C major —
Fughetta III C major —
Fughetta IV A minor —
Fughetta V A minor —
Fughetta VI A minor —
Fugheta VII A minor —
Versette G minor —
Fughetta VIII G minor —
Cantabille G minor —
Fughetta IX G major —
Fughetta X G major —
Fughetta XI G major —
Cantabille C major —
Cantabille D major —
Fughetta XII D dorian —
Interlude D dorian —
Fughetta XIII D dorian —
Versette D minor —
Fughetta XIV D minor —
Fughetta XV E minor —
Prelude to Fugue — — — Piano solo — —
A Minor Variation — — — Piano solo — —
Waltz — A minor — Piano solo — —
Adagio — D major — Piano solo — —
Prelude — G minor — Piano solo — —
Preludio Andantino - mixolidian d - da capo al fine — E minor — Piano solo — —
Preludio I — G major — Piano solo — —
Prelude — D major — Piano solo — —
Prelude (Picardian) — E — Piano solo — [n 47]
Fuga — D — Piano solo — [n 48]
Prelude II — G major — Piano solo — —
Adagio — D minor Alla breve Piano solo — —
Prelude III' — G major — Piano solo — —
Interlude — C major — Piano solo — —
Variations on the Hymn "Jesus styr du mine tanker" — G major — Piano solo — [n 49]
Prelude on the Hymn "I Jesu Navn" — G minor — Piano solo — [n 50]

Additional information

Notes
  1. A composition dedicated to Mlle. Sophie Laporte.
  2. A composition dedicated to Mlle. Jane Wilhelmina Stirling.
  3. A composition dedicated to Princess Marcelline Czartoryska, née Princess Radziwiłł.
  4. A composition for soprano and piano accompaniment dedicated to Mlle. Christance Thiis, the day of her communion.
  5. Waltz No. 1 was dedicated to Mlle. Z. Auber, No. 2 to Mlle. Louise Jedrzejeicz, and No. 3 to Mlle. Charlotte Jane Stirling de Glenbervie.
  6. A composition dedicated to Monsieur Baron de Stockhausen, most probably Baron Nathaniel von Stockhausen, the Hanoverian ambassador to France, to whom Chopin dedicated his Ballade No. 1 in G minor, Op. 23.
  7. This élegie ends with the hymn "Wer weiß, wie nahe mir mein Ende" with a melody by Georg Neumark. It was dedicated to the memory of François Gustave Oscar, Hereditarian Prince of Sweden and Norway.
  8. This concerto for piano and orchestra, with a traditional bridal march from Sogn used as the main theme, and a rhythmic theme as a second theme taken from the Halling dance, was dedicated to Oscar I, King of Sweden and Norway.
  9. Translated as Dance of the Hulders, it may have been written for the annual carnival celebration for Norwegian artists in Paris. It was dedicated to Countess Delphine Potocka, née Komar.
  10. Also known as "Adagio, Cantabile et Rondo", this composition was dedicated to Madame Baroness Monsieur Nathaniel de Rothschild's.
  11. A composition dedicated to Lady Murray.
  12. This composition has an introductory part (Introduction) with tempo marking Largo. It was dedicated to his friend Paul Gunsberg.
  13. A composition dedicated to Madame Countess Geneviève Puslowska, née Princess Druka Lubecha.
  14. Mazurka No. 2 is entitled La Ronde. It was dedicated to Madame Princess A. Troubetzkoi, née Countess Goudowitch.
  15. A composition dedicated to Madame Princess Marcelline Czartoryska, née Princess Radziwiłł.
  16. A composition dedicated to Mlle. Princess Elisabeth Czartoryska.
  17. A composition dedicated to Madame Countess Laure Swieykowska.
  18. A composition dedicated to Her Royal Highness Wilhelmina Frederica Alexandra Anna Louise, Royal Princes of Sweden and Norway.
  19. The Violin Sonata No. 1 was dedicated to His Majesty Guillaume III des Pays-Bas.
  20. A composition dedicated to Madame Sherman.
  21. A composition dedicated to Her Majesty Catholique Isabella II, Reine d'Espagne.
  22. A composition dedicated to Madame Countess Nina Branicka.
  23. Translated as The little beggar. It was dedicated to Madame Princess Woronzow.
  24. A composition dedicated to Madame Baroness Alphonse de Rothschild.
  25. An étude in passagework and broken chords. It was dedicated to Madame Barbe Stolypine.
  26. Translated as Bridal Tune, Danse Norvégienne (Norwegian Dance), may have been written for the annual carnival celebration for Norwegian artists in Paris. It was dedicated to Princess Julie Galitzin.
  27. A composition dedicated to Baroness Nathaniel Rothschild.
  28. A composition in the form of ballad, dedicated to Gioachino Rossini.
  29. A composition dedicated to Madame Baroness Marguerite de Contades.
  30. A composition dedicated to Madame Marquess de Béthysy.
  31. Trio for Piano, Violin and Cello.
  32. This composition, divided into three sections or movements, has no title. Some sources list it as Berceuse, while others just as Op. 32. No. 1 was dedicated to Madame Countess Laure Suieykowska, No. 2 to Madame Lady Ashburton, née Stuart Mackensie, and No. 3, subtitled Idylle, and published around 1871, to Madame Amélie Lecarpentier, née Brunet.
  33. Translated as Polish Dance,this composition was dedicated to Madame Jenny Lind Goldschmidt.
  34. An étude in lyrical and melodic writing for the right hand. It was dedicated to Madame Countess Geneviève Puslowska, née Princess Drucka Lubecku.
  35. This Air de ballet was dedicated to his friend Count Stephen Swiecykowski.
  36. A composition dedicated to Mlle. C. Vannier.
  37. A composition for violin or violoncello (duo). The tempo marking for this composition also reads Largo, and 73 bars before the Interlude (Complainte), translated as Lament, with tempo marking Presto. It was dedicated to Prince Oscar of Sweden and Norway.
  38. A composition dedicated to our friend Count Sigismund Puslowski.
  39. A composition dedicated to our friend Count François Puslowski.
  40. This composition, Fête à Walhalla, 3me. Danse Norvégienne, translated as The Walhalla Feast, may have been written for the annual carnival celebration for Norwegian artists in Paris in 1869. It was dedicated to Madame Dutchess de Frias.
  41. A sonata written for two pianos.
  42. Arrangement for piano. Dedicated to Madame Hutchinson.
  43. An étude in sixths, advanced figures and passagework. Subtitled Douze Études de Virtuosité, No. 8. It seems this is just part 8 of a collection of twelve exercises in sixths for piano. Dedicated to Madame Delaborde.
  44. A composition dedicated to Madame Baroness James de Rothschild.
  45. Kimer, I klokker is a Christmas hymn written by N. F. S. Grundtvig in 1856 at the invitation of the vicar of Mern, Peter Rørdam.
  46. Fughetta No. II written for 4 voices, No. III for 3 voices, No. IV for 3 voices, No. V for 3 voices, No. Vi for 4 voices, and No. VII for 4 voices. No. VIII for 3 voices, No. IX for 3 voices, No. X for 3 voices, No. XI for 3 voices. Fughetta XII written in the Dorian mode and set for 3 voices. Interlude, Mellonspill in Norwegian and Zwischenspiel in German language, written in the Dorian mode as well. Fughetta No. XIII for 3 voices, No. XIV for 4 voices, and No. XV for 3 voices.
  47. A composition written in the phrygian mode.
  48. A composition written in the dorian mode.
  49. An 8-line-verse Norwegian hymn translated as "Jesus, Guide Thou All My Thoughts", which has survived to our day thanks to oral tradition. It comes from the end of the 17th century, being first published in 1861 by Magnus Brostrup Landstad.
  50. The well-known hymn among Norwegians "I Jesu Navn skal al vor gjerning ske", translated as "Let all our works in the Name of Jesus be", was usually sung in the closing or opening of a service.

References
  1. "Thomas Tellefsen (1823-1874)" (in Norwegian). Trodnheim.no. Archived from the original on 2014-04-08. Retrieved 2014-04-08.
  2. "Thomas Tellefsen". Norwegian biographical encyclopedia. Retrieved 2014-04-08.
  3. "Thomas Dyke Acland Tellefsen". Arena. 2009. Retrieved 2014-04-08.

Bibliography
  • Dalaker, Ingrid Loe (2005): Thomas Tellefsen i norsk og fransk musikkultur (eng. Thomas Tellefsen in Norwegian and French music culture). Doctor of Musical Arts at the Norwegian University of Science and Technology.
  • Huldt-Nystrøm, Hampus (1959): Thomas Dyke Acland Tellefsen.
  • (pl) Olszewski, Edward (2013): Fryderyk Chopin i Thomas Dyke Acland Tellefsen. Polsko - norweskie więzi muzyczne odkrywa pianistka Małgorzata Jaworska z Krakowa i norweskiego Arendal, Wydawnictwo Adam Marszałek, Toruń 2013, ISBN 978-83-7780-631-9.
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