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Thomas D.A. Tellefsencomplete piano works Thomas D.A. Tellefsen (1778-1871)

Jrgen Larsen piano

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 Tellefsens music, both in terms of choice of style and genre and by the fact that the majority of his works are for solo piano.

Jrgen 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 Oslos University Hall in 1979 before being appointed accompanist at what was then Trndelag Music Conser-vatory, now Institute of Music, nTnU, where he still teaches. Jrgen Larsen is a member of several chamber music ensembles, as well as being orchestral pianist with Trondheim symphony Orchestra.

Thomas Dyke Acland Tellefsens (18231874) historie er spesiell i 1800-tallets norske musikkultur. I sin levetid ble han internasjonalt kjent bde som komponist, klavervirtuos og pedagog, og han opplevde f et nrt forhold til Chopin, bde som elev og venn. Tilknytningen til Chopin gjenspeiles p flere mter i Tellefsens musikk, bde gjennom valg av stil og genre, og ved at flertallet av verkene er for klaver solo.

Jrgen Larsen ble fdt 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, fr han i 1980 ble ansatt som akkompagnatr ved davrende Trndelag Musikkonservatorium. Jrgen Larsen er fast medlem av Trondheim Sinfonietta, Trondheim Trio og Trondheim Kvartett og dessuten orkesterpianist i Trondheim Symfoniorkester.

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3 hours and 18 minutes of music on 1 disc

JrgeN LArSeN

Four Mazurkas, op. 101 a major 2:29 02 a minor 2:31 03 e minor 1:44 04 a major 1:24

05 nocturne no. 1 in F major, op. 2 4:07

Four Mazurkas, op. 306 g minor 1:34 07 g major 2:00 08 B flat major 1:33 09 F sharp minor 3:15

Three Valses brillantes, op. 510 a flat major 1:25 11 g major 1:16 12 e minor 3:52

13 Tarentelle in e flat major, op. 6 3:10

14 lgie in F minor, op. 7 6:18

15 Huldredansen (Dance of the Hulders) in g minor, op. 9 2:43

16 adagio et rondo in B minor, op. 10 9:22

17 nocturne no. 2 in e major, op. 11 3:39

18 Thme original et Fantaisie in B flat minor, op. 12 8:27

sonata in C minor, op. 1319 allegro moderato 6:33 20 adagio 5:34 21 rondo. Vivace 2:58

six Mazurkas, op. 1422 D minor 3:07 23 g major 1:23 24 F minor 3:4625 F major 2:19 26 D major 2:12 27 C minor 2:08

Feuillets dalbum, op. 1628 allegro moderato in B flat major 1:2629 Lento in a flat major 2:49 30 Marche funbre in C minor 5:53

31 nocturne no. 3 in g minor, op. 17 4:23

32 grande Polonaise in C sharp minor, op. 18 7:04

33 allegretto in a major, op. 20 2:58

34 Toccata in F major, op. 22 7:46

35 La Petite Mendiante in e minor, op. 23 2:03

36 grande Mazurka in B flat major, op. 24 3:56

37 grande tude in C sharp minor, op. 25 3:06

38 Bruraslaatten (Bridal Tune) in D major, op. 26 3:08

39 Valse in D flat major, op. 27 3:27

40 Ballade in C minor, op. 28 4:34

41 Marche Triomphale in e flat major, op. 29 5:04

42 grande Valse no. 5 in F major, op. 30 no. 1 3:28

43 grande Valse no. 6 in F minor, op. 30 no. 2 3:33

44 Mazurka/Polskdans in a major, op. 33 4:05

45 au travers dun songe in a flat major, op. 34 2:47

46 Capriccio appassionato in B minor, op. 36 4:37

47 Impromptu in g minor, op. 38 3:26

48 nocturne no. 4 in g flat major, op. 39 5:04

49 Walhallafesten (The Walhalla Feast) in g minor, op. 40 3:52

50 Mlodies cossaises in a major, op. 42 7:46

51 excercice en sixtes in e major, op. 43 2:29

52 Pavane de la reine elisabeth in C sharp minor, op. 44 5:34

53 Valse in a major without opus number 3:03

Total Playing Time 3:18:38

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 Tellefsens 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 towns music society. His mother, Anne Cathrine ne 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 Tellefsens 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 towns 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. Tellefsens 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 Tellefsens knowledge and fields of interest is expressed in the second of the three concerts when he played J.S. Bachs 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 Kalkbrenners very best students,

Thomas D.A. Tellefsen

and his connection to her gave Tellefsen the opportunity to attend free lessons with the renowned teacher, since as a poor student he could not afford to pay for tuition. This allowed Tellefsen direct insight into both Kalkbrenners piano methods and into contemporary discussions about piano technique. These first years in Paris were marked by hard work, illness and shortage of money. Financial donations and fundraising initi-ated by wealthy music-loving citizens in Trondhjem enabled him to continue his studies in Paris.

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 aspect. Thomas Tellefsen soon realised that Frederyk Chopin was expressing something special that he wanted to incorporate into his own playing. But it was first in 1844 that he, through a chance Norwegian acquaintance, came into contact with friends of the composer who introduced him to Chopins friend George Sand. Just a few days later she arranged the first meeting with Chopin. Thomas Tellefsen had regular lessons with Cho-pin right up until May 1847. During this period he made great progress in his piano tech-nique. Although Tellefsen was taking regular lessons in composition from the renowned conservatory teacher Henry Reber, it is likely that Chopin served as a mentor also in this area. Economically, Tellefsens situation was now improving. He was taken on by Chopin as a copyist, and at the same time his status as Chopins pupil provided him with well-paid teaching assignments. However, as a result of the Paris revolution of 1848, Chopin and Tellefsen, along with many other artists, were forced to flee to England. During this period they spent much time together and developed a close friendship.

After the death of Chopin in 1849 Tellefsen took over several of Chopins pupils, among them Jane Stirling and the Polish princess Marcellina Czartoryska. And it was at the Czartoryski familys large residence Htel Lambert that Tellefsen had his Paris debut in 1851. On this occasion he gave a first performance of his first piano concerto. In the following decade Tellefsen enjoyed much success as a pianist, his annual public concerts being referred to as the seasons great concert event. In time Tellefsens repertoire came to include a majority of his own works, while Chopins music was also well represented. Critics praised his Chopin interpretations both his touch, cantabile and special rubato playing are described as of the highest order and in the very spirit of Chopin. Tellefsen also regularly participated in performing chamber music, mostly the Viennese classics, along with key musicians in Paris. This circle included such famous names as the cellist Auguste Franchomme and the violinist Charles-Eugne Sauzey. Tellefsen, Franchomme and composer Charles Gounod were all active in Princess Marzellina Czartoryskas chamber music society, Club des Mozartistes.

Between 1843 and 1864 Tellefsen visited Norway ten times in all. His visits were always combined with concerts that provided valuable extra income. His breakthrough as a pianist in Norway came in 1855, the year he completed a major tour along the coast from Trondhjem to Christiania (Oslo). He also gave concerts in Stockholm and Uppsala, in both cases with great success. After concerts in the Stockholm Opera he was given an audience with the king and also granted membership of the Swedish Musical Academy. 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 1858 Thomas Tellefsen married the Norwegian singer Severine Bye, who was studying in Paris. Tellefsen was at this stage well established as a composer, pianist and teacher. His pupils were largely recruited from the French, Polish, English and Russian aristocracy. Tellefsens status and position in Paris is described by the Norwegian composer Halfdan Kjerulf, who, after a visit to the city in 1862, writes that the Rothschild family alone could support him. Tellefsens home became a centre for Scandinavian circles in Paris, with Ole Bull, Bjrnstjerne Bjrnson and H.C. Andersen all visiting him on several occasions.

Thomas Tellefsen was a serious musician with considerable theoretical training. Through his first piano teacher O.A. Lindeman, one of the best-trained Norwegian musicians of his time, he had gained a great knowledge of Baroque music and Bach in particu-lar. During his studies in Copenhagen, Lindeman had been a pupil of Bergen emigrant Israel Gottlieb Wernicke, who in turn had been a pupil of Bachs pupil Johann Philipp Kirnberger. Thus Lindeman was able to pass on a piano tradition with a direct link back to J.S. Bach, something quite unique at the time. Lindeman translated a number of the most well-known theoretical works of the 18th century to Norwegian. Even before he left Trondhjem Tellefsen was well versed in Bachs piano tradition. He was also well read in 18th century music theory and had copies of Lindemans translations of works by the likes of Kirnberger, Trk, Mattheson and Marpurg. Tellefsens choice of teachers in Paris shows that right from the start his emphasis was on extending his knowledge of 18th century music. Charlotte Thygeson had an extensive knowledge of Bach. She knew Mendelssohn personally and had played Bachs works with him and his sister Fanny in Rome. Tellefsens interest in Bach had been further strengthened through his connection to Chopin, who himself had had a similar training in 18th century theorists and the Bach tradition through his Warsaw teacher Johannes Elsner. Several musicians that belonged to Chopins closest circle became key figures in the cultivation of historical music in Paris in the 1850s. Auguste Franchomme, the violinists Charles-Eugne Sauzay and Delphin Alard, the pianist Charles Valentin Alkan and the singer Pauline Viardot-Garcia are men-tioned along with Tellefsen in connection with concerts of historical music in the 1850s.

Tellefsen was very concerned that the old music should be performed in as authentic a way as possible. As early as in the 1850s he performed Baroque works on his own harpsichord that he had had sent from Trondhjem. From the middle of the 1850s he took part in Concerts Historiques held by singer Franois Delsartes (1811-1871), where his performances featured works by C.P.E. Bach, J.S. Bach and Jean-Philippe Rameau. Between 1855 and 1861 Tellefsen edited and published as many as five different col-lections of music from the 18th century. These works originated from O.A. Lindeman and Tellefsens own father. Four of the five collections included works by German and Scandinavian composers that share a common connection to a piano tradition leading back to J.S. Bach; viz. C.P.E. Bach, J.P. Kirnberger, J.A.P. Schulz and O.A. Lindeman. In the fifth collection the compositions were by Rameau, an almost forgotten composer by this time, and contained a selection of concertos for keyboard instruments, cello and violin. Tellefsens publishing of composers with a direct lineage to Bachs tradition can be seen as part of an effort to bring the composer back to public attention and as a desire to show Bachs significance for German-Scandinavian music circles in the years after 1750.

In 1871 the outbreak of the Franco-German War caused the Tellefsens, with their daugh-ter Jeanne, to move to London. Here old acquaintances of the family enabled them to make a living teaching and giving concerts. Tellefsens marriage was not a happy one, and when the family returned to Paris in 1873 they were separated. Since the early 1860s Thomas Tellefsen had been dogged by illness. His health now deteriorated. In the last period of his life Tellefsen took lodgings with his good friends the Rothschilds at their htel in Fauborg St. Honor. Tellefsen died on 6th October 1874, barely 51 years old.

Tellefsen was soon forgotten, both in Paris and in Norway. This is partly due to the emergence of a new era with new musical ideals. In Norway, artistic success demanded increasing emphasis on nationalist elements. With his Parisian perspective, Tellefsen was not concerned with promoting Norwegian identity, either politically or culturally, and was never close to the National Romantic movement. Although he loved Norway all his life, his cultural heritage rather bears the mark of the Enlightenment.

Tellefsens compositional style is based in the Classical Romantic tradition. He left a total of 44 original opuses, all of which were published by Richault in Paris. His 16 mazurkas, with 5 different opus numbers, constitute a significant part of this production. Com-posed over a relatively long period, the first date from his period as a pupil of Chopin, the last from around 1860. The mazurkas are in many cases reminiscent of Chopins. In Mazurka op. 14, nr. 2, which is constructed on the rondo principle, Tellefsen includes a reference to the introduction to Chopins Mazurka op. 30 nr. 1 in one passage. In the

mazurkas Tellefsen also used features that relate to Norwegian folk music. The springar dance form bears relation to Polish mazurka types both in terms of time signature, for-mal structure and the abstract use of syncope. Knowing this probably gave Tellefsen the idea of adapting these dance tunes to the mazurka. Although the Norwegian elements are less prominent for long periods of the movement, they are present both in the form of rhythmic twists of melody and typical cadences, e.g. in Mazurka op.1 nr. 2 and Mazurka op. 14 nr. 3. In the middle of Mazurka op. 1 nr. 4 we recognise a reference to a well-known folk song En liten gut ifr Tistedalen (A Little Boy from Tistedalen). There are few traces of modality in Tellefsens mazurkas. Although the Lydian fourth is described as typical for Norwegian folk dance tunes, Tellefsen uses it only in a handful of cases.

Huldredansen (Dance of the Hulders) op. 9, Brureslaatten (The Bridal Dance), op. 26 and Walhallafesten (The Valhalla Feast) op. 40 borrow rhythmic-melodic motifs from Norwegian traditional tunes and must be characterised as stylised folk dances. Although all three pieces have the subtitle Danse Norvegienne they are not based on whole folk tunes. With their virtuoso passages the elements of Norwegian folk music have more the function of exotic and tension-building effects. This creates a different expression to the one favoured by National Romantic tastes later in the century. As early as the 1850s several Norwegian critics commented on the connection to Chopin and Tellefsens use of Norwegian elements: Mr. Tellefens own compositions are fine, not to mention elegant, but just as on the occasion of Mr Tellefsens last visit, the doubt must be expressed as to whether our mountain tunes, or impressions of them, fit neatly into a Chopinian mould. He endeavours to preserve in them a demonic character, but they jump away in the at-tempt. (Morgenbladet, 16th August 1857).

Like Chopin, Tellefsen also wrote waltzes and nocturnes. Tellefsens op. 5, 3 Valses brilliants was published in 1851. The second of the waltzes in the opus is dedicated to Chopins niece Ludwika Jedrzejewicz, whom Tellefsen taught for a short while. The two waltzes in op. 30, Grande Valse nr. 1 in F major and Grande Valse nr. 2 in F minor, were published early in the 1860s. Jrgen Larsen also plays a fourth waltz in A major which most likely has belonged to opus 5, but was not included in the published edition. The first of Tellefsens nocturnes, Nocturnes op. 2, was probably written as early as 1845, the last being printed in 1872. In the nocturnes Tellefsen uses both a triform structural principle and solutions whereby, with the aid of variation and ornamentation, a short theme forms the basis of the whole movement. Nocturne op. 39 in G flat major is an example of this.

The musical life of Paris in the mid 19th century has been described as consisting of two very different worlds; on one side a brighter and lighter world of popular entertainment, and on the other a world of serious music based on conservatory concerts and discerning audiences. The way concerts were organised in Paris at this time reveals the contours of a more modern concert culture, with a mixture of public, semi-public and private events. Tellefsens activities as a performer and a composer reflect this picture.

In several of Tellefsens major piano pieces the virtuoso aspect is central, as in Tarantella, Theme originale et Fantasie, Adagio et Rondo, Ballade, Capriccio appasionato and Im-promptu. The two etudes Grande Etude and Exercise en sixtes involve double-stops and virtuoso passages, requiring agility and swift fingers and bearing witness to Tellefsens own technique, which must have been of a high standard. Of the pieces in this category, Grand Polonaise and Toccata distinguish themselves favourably. With its technically demanding passages and use of arpeggioed chords and parallel octaves, Tellefsens polo-naise is typical of the genre and has references to both Chopin and Liszt. The toccata, one of the oldest instrumental music forms, is virtuoso in character with a high degree of technical difficulty. This is the case with Tellefsens Toccata, whose underlying stream of figurations demands technical endurance and controlled fingering. The piece has the form of a sonata with two substantial themes and is completed in a consistent and effec-tive manner.

Tellefsen wrote a number of character pieces in the Romantic tradition: Feuillets dAlbum, La Petite Mendiante, Pavane de la Reine Elisabeth and Allegretto are all pieces that were probably composed for teaching purposes: Melodies cossaises is a good exam-ple of popular variations on national melodies that were popular at the time. Elegi op. 7 concludes with the hymn Hvo ved hvor nr mig er min Ende (Who knows how close my end is). The piece was written in 1852 in memory of Prince Gustav who was himself an accomplished singer and pianist. Marche triomphale is probably identical with the coronation march that Tellefsen played in Trondhjem at Carl XVs coronation in 1860.

Tellefsens chamber music reflects the serious aspect of Tellefsens musical world and includes six major works of several movements for various ensembles. In keeping with French tradition the works are characterised by clear formal elements, predominantly diatonic melody lines and relatively long periods with clearly defined tonal levels. So-nata op. 13 was probably composed in 1848. Its first movement is melodically the most chromatic of Tellefsens sonata movements. The second movement takes the form of a nocturne, while the third movement is a rousing rondo.

The story of Tellefsens name: The British politician Sir Thomas Dyke Acland (1778-1871) was known for his liberal views and his involvement with humanitarian and religious causes. Sir Thomas visited Norway on several occasions. In 1813 he had met Tellefsens father, who was working as a librarian at the Scientific Society in Trondhjem. After another visit nine years later Sir Thomas sent his portrait to the Tellefsen family. The portrait arrived just as the familys newborn son was to be christened, and his name became Thomas Dyke Acland Tellefsen. It was only many years later, when Tellefsen was staying in London in 1848, that he met Sir Thomas at a private party and finally asked permission to use the name. Tellefsen stayed in contact and visited Sir Thomas several times on his estate in Devon.

Jrgen Larsen was born in 1958 and after winning the Youth Piano Master competition in 1973 he made his debut in Trondheim in 1975. After studying under eva Knardahl he had his debut concert in Oslos University Hall in 1979 before being appointed accompanist at what was then Trndelag Music Conservatory. The conservatory has been his place of work since then, only interrupted by a year and a half as orchestral pianist with Oslo Philharmonic Orchestra (Autumn 1988 and the 1990/1991 season). He is now Associate Professor of piano studies at the Department of Music at NTNU (formerly Trndelag Music Conservatory).

Jrgen Larsen has also studied under robert riefling, Albert Ferber (London) and Dominique Merlet (Paris). After his debut concerts in Trondheim and Oslo he has given solo concerts in Norway, as well as in London and Paris. He has also performed with the symphony orchestras of Bergen, Stavanger, Oslo and Trondheim. He has distinguished himself as a chamber musician and accompanist, working with such musicians as Arve Tellefsen, Bjarne Fiskum, Harald Bjrky, randi Stene, gwyn Hughes Jones, Marianne Thorsen, rado-van Vladovich, Kjell erik Arnesen, Jonathan Snowden and ystein Baadsvik. In the last two years he has had major responsibilities both at the Winter Festival in rros and at Trondheim International Chamber Music Festival, at the latter as a performer and a jury member for the International Piano Trio Competition.

Larsens repertoire comprises over 30 piano concertos and a solo repertoire that ranges from Bach to contemporary music, as well as chamber music of all categories. He has premiered several works by Norwegian composers, and his first solo CD, great Twentieth Century Sonatas, includes sonatas by Alban Berg, Samuel Barber, Henri Dutilleux and Fartein Valen. Similarly he has recorded Frank Tveor Nordenstens 24 preludes and fugues and participated in numerous CD recordings of chamber music.

In 2004-2006 Jrgen Larsen performed all of Beethovens piano sonatas in a series of 8 concerts in Trondheim, with some of the concerts being repeated at the grieg Academy in Bergen and the University of Troms (Department of Fine Arts, Conservatory of Music) as well as in rnvik Church in Bod. Jrgen Larsen is a member of the Trondheim Sinfonietta, Trondheim Trio and Trondheim Quartet, as well as being orchestral pianist with Trondheim Symphony Orchestra.

ga Tellefsen mulighet til gratis overvre timer hos den bermte pedagogen, siden han som fattig student ikke hadde rd til engasjere ham som lrer. P denne mten fikk Tellefsen direkte innblikk bde i Kalkbrenners klavertekniske metoder og i sam-tidens diskusjoner om klaverspillets ulike teknikker. De frste rene i Paris var preget av hardt arbeid, sykdom og drlig rd. Pengegaver og flere innsamlinger igangsatt av rike og musikkinteresserte borgere i Trondhjem, gjorde det mulig for ham fortsette studieoppholdet i Paris.

I brevene hjem gir Tellefsen etter hvert uttrykk for at pedagoger som Kalkbrenner og Herz for ensidig vektla utviklingen av teknikk p bekostning av det fortolkningsmessige. Thomas Tellefsen skjnte snart at Frederyk Chopin formidlet noe helt spesielt som han nsket tilfre sitt eget spill. Men det var frst i november 1844 at han ved et tilfeldig norsk bekjentskap kom i kontakt med venner av komponisten som presenterte ham for Chopins venninne, forfatteren George Sand. Bare noen dager senere arrangerte hun det frste mtet med Chopin. Thomas Tellefsen tok jevnlig timer hos Chopin helt til mai 1847. I denne perioden gjorde han store fremskritt p det klavertekniske omrdet. Selv om Tellefsen jevnlig tok timer i komposisjon hos den kjente konservatorielreren Henry Reber, har Chopin trolig fungert som veileder ogs p dette omrdet. P det kono-miske omrdet endret forholdene seg n til det bedre. Chopin engasjerte Tellefsen som kopist, samtidig som hans status som Chopin-elev ga ham godt betalte undervisnings-oppdrag. Som en flge av revolusjonen i Paris i 1848, mtte imidlertid Chopin og Tellefsen, sammen med en rekke andre kunstnere, reise til England. I denne perioden var de mye sammen og utviklet et nrt vennskap.

Etter Chopins dd i 1849 overtok Tellefsen en rekke av Chopins elever, deriblant Jane Stirling og den polske prinsessen Marcellina Czartoryska. Det var ogs i Czartoryski-familiens store residens Htel Lambert at Tellefsen hadde sin Paris-debut i 1851. Ved denne anledningen urfremfrte han sin frste klaverkonsert. I tirsperioden som fulgte gjorde Tellefsen stor suksess som pianist og hans rlige offentlige konserter ble ved flere anledninger omtalt som sesongens store konsertbegivenhet. Tellefsens konsertrepertoar kom etter hvert til inneholde et flertall av hans egne verker, samtidig som Chopins musikk var hyppig representert. I kritikkene bermmes hans Chopin-tolkninger; bde hans anslag, cantabile og spesielle rubatospill blir betegnet som av hyeste klasse og helt i Chopins nd. Tellefsen deltok ogs regelmessig i oppfring av kammermusikk, for det meste av wienerklassikerne, sammen med sentrale musikere i Paris. Denne kretsen omfattet blant andre kjente navn som cellisten Auguste Franchomme og fiolinisten Char-les-Eugne Sauzey. Bde Tellefsen, Franchomme og komponisten Charles Gounod var aktive i prinsesse Marzellina Czartoryskas kammermusikforening Club des Mozartistes.

Thomas Dyke Acland Tellefsens (18231874) historie er spesiell i 1800-tallets norske musikkultur. I sin levetid ble han internasjonalt kjent bde som komponist, klaver- virtuos og pedagog, og han opplevde f et nrt forhold til Chopin, bde som elev og venn. Tilknytningen til Chopin gjenspeiles p flere mter i Tellefsens musikk, bde gjennom valg av stil og genre, og ved at flertallet av verkene er for klaver solo. Tellefsen skrev ogs to klaverkonserter, som er de frste vi kjenner til av en norsk komponist. I tillegg inneholder opuslisten, for sin tid og i norsk sammenheng, en relativt omfattende kammermusikkproduksjon.

Thomas Tellefsen var fdt i Trondhjem den 26. november 1823 og vokste opp i et milj med foreldre som var svrt aktive i byens musikkliv. Faren, Johann Christian Tellefsen (17741857), var organist, musikkhandler og orgelbygger og var aktiv amatrmusiker i byens musikkselskap. Moren, Anne Cathrine f. Stibolt (17851860) var en habil pianist og sanger og underviste, i tillegg til disse instrumentene, ogs i harpe og gitar. Thomas Tellefsen arvet foreldrenes interesse for musikk og viste tidlig svrt gode musikalske anlegg.

Musikkinteressen ble etter hvert s stor at Thomas Tellefsen valgte avslutte skolegangen ved Trondhjems Katedralskole i 1840, ett r fr avsluttende eksamen. Etter at Thomas Tellefsen forlot skolebenken, tok han undervisning i spill og teori hos en annen av byens kjente musikere, organisten Ole Andreas Lindeman (17691857), og etter bare ett r debuterte han som 18-ring i Trondhjem, den 21. januar 1842. Fr han reiste til Paris i mai samme r, ga han ytterligere to konserter. Repertoarvalget viser at Tellefsen m ha hatt bde et relativt hyt teknisk spilleniv og god kjennskap til samtidens virtuose klaververker. P de tre konsertene spilte han klaverkonserter av Hummel og Kalkbrenner og Fantasi av Herz, alle akkompagnert av orkester. Tellefsens egenkomponerte variasjoner over norske folkeviser viser at han mestret ogs denne delen av samtidens virtuos- tradisjon. En helt annen side av Tellefsens kunnskaper og interesseomrde kom til uttrykk p den andre av de tre konsertene, da han spilte preludium og fuge av J.S. Bach. Interessen for 1700-tallets musikk skulle komme til vare gjennom hele hans liv. I Paris kom Tellefsen frst i kontakt med den norskfdte pianisten Charlotte Thygeson (18111872), som ble hans lrer ut ret 1843. Thygeson er beskrevet som en av virtuos- komponisten Friedrich Kalkbrenners aller beste elever. Bekjentskapet med Thygeson

Thomas D.A. Tellefsen

I lpet av perioden 1843 til 1864 beskte Tellefsen Norge i alt ti ganger. Beskene i hjemlandet ble alltid kombinert med konsertvirksomhet som ga gode ekstrainntekter. Gjennombruddet som pianist i Norge kom i 1855. Dette ret gjennomfrte han en stor turne langs kysten fra Trondhjem til Christiania. Han ga ogs konserter i Stockholm og Uppsala, begge steder med stor suksess. Etter konsertene i Stockholms Opera var han i audiens hos kongen og ble ogs medlem av Musikaliska Akademien. Tellefsen ble gjen-nom rene tildelt en rekke resbevisninger for sin innsats som pianist og komponist, og i 1867 ble han utnevnt til ridder av St. Olavs Orden. I 1858 giftet Thomas Tellefsen seg med den norske sangerinnen Severine Bye som stu-derte i Paris. Tellefsen var p dette tidspunkt godt etablert bde som komponist, pianist og som pedagog. Elevene var for en stor del rekruttert fra det franske, polske, engelske og russiske aristokratiet. Tellefsens status og posisjon er beskrevet av Halfdan Kjerulf, som etter et besk i Paris i 1862 forteller at alene den Rotschildske Familie kunde ernre ham. Tellefsens hjem var et sentrum for den skandinaviske kretsen i Paris og bde Ole Bull, Bjrnstjerne Bjrnson og H.C. Andersen beskte Tellefsen ved flere anledninger.

Thomas Tellefsen var en seris musiker med omfattende teoretisk skolering. Gjennom sin frste klaverlrer O.A. Lindeman, som var en av sin tids aller best skolerte norske musikere, hadde han ftt store kunnskaper om barokkens musikk og i srdeleshet om J.S. Bach. Under sin studietid i Kbenhavn var Lindeman elev av den utvandrede bergenseren Israel Gottlieb Wernicke, som igjen var elev av Bachs elev Johann Philipp Kirnberger. Slik kunne Lindeman videreformidle en klavertradisjon som gikk i direkte linje til J.S. Bach, og som var helt spesiell i sin samtid. Lindeman oversatte en rekke av 1700-tallets kjente teoretiske avhandlinger til norsk. Allerede fr Tellefsen forlot Trondhjem, var han godt skolert i Bachs klavertradisjon. Han var ogs godt orientert i 1700-tallets musikk- teori og hadde Lindemans oversettelser av avhandlingene til blant andre Kirnberger, Trk, Mattheson og Marpurg. Tellefsens valg av lrere i Paris viser at han helt fra frste stund la vekt p utvide sine kunnskaper om 1700-tallets musikktradisjon. Charlotte Thyge-son hadde stor kunnskap om Bach. Hun kjente personlig Mendelssohn og hadde spilt Bach-verker med ham og hans sster Fanny i Roma. Interessen for Bach ble ytterligere styrket gjennom Tellefsens bekjentskap med Chopin. Gjennom sin lrer Johannes Elsner i Warsawa hadde Chopin ftt en lignende opplring i Bach-tradisjonen og 1700-tallets teoretikere som Tellefsen. En rekke musikere som befant seg i Chopins nrmeste om-gangskrets, kom ogs til st sentralt i formidlingen av den historiske musikken i Paris p 1850-tallet. Auguste Franchomme, fiolinistene Charles-Eugne Sauzay og Delphin Alard, pianisten Charles Valentin Alkan og sangerinnen Pauline Viardot-Garcia nevnes sammen med Tellefsen i forbindelse med 1850-renes musikkhistoriske konserter.

Tellefsen var svrt opptatt av at den gamle musikken skulle oppfres p en s autentisk mte som mulig. Allerede tidlig i 1850-rene fremfrte han barokkverker p sin egen cembalo, som han hadde ftt tilsendt fra Trondhjem. Fra midten av 1850-tallet deltok han p sangeren Franois Delsartes (18111871) historiske konserter, Concerts Histo-riques, hvor han blant annet fremfrte verker av C.P.E. Bach, J.S. Bach og Jean-Philippe Rameau. I rene fra 1855 til 1861 stod Tellefsen selv for redaksjonen og utgivelsen av hele fem ulike samlinger med musikk fra 1700-tallet. Disse verkene stammet fra O.A. Lindeman og hans egen far. Fire av de fem samlingene inneholdt verker av tyske og skan-dinaviske komponister som alle har det til felles at de kan knyttes til en klavertradisjon som gr i direkte linje til J.S. Bach; nemlig C.P.E. Bach, J.P. Kirnberger, J.A.P. Schulz og O.A. Lindeman. Komposisjonene i det femte heftet var av Rameau, som p denne tiden var en nesten avglemt komponist, og inneholdt et utvalg konserter for klaverinstrument, cello og fiolin. Tellefsens publikasjoner av komponister som stod i en direkte forbindelse til Bachs tradisjon, kan forsts som del av arbeidet med gjre denne komponisten kjent p nytt, og som et nske om vise Bachs betydning for et tysk-skandinavisk musikkmilj i rene etter 1750.

Utbruddet av den fransk-tyske krigen var rsaken til at ekteparet Tellefsen og datteren Jeanne reiste til London i 1871. Her gjorde gamle bekjentskaper at familien snart kunne livnre seg av undervisning og konserter. Tellefsens ekteskap var ikke lykkelig, og da familien vendte tilbake til Paris i 1873, var ekteparet separert. Thomas Tellefsen hadde helt siden tidlig i 1860-rene vrt plaget av sykdom. N forverret helsen seg. I den siste perioden av sitt liv var Tellefsen innlosjert hos sine goder venner, familien Rotschild, i de-res htel i Faubourg St. Honor. Tellefsen dde den 6. oktober 1874, knapt 51 r gammel.

Tellefsen ble snart glemt, bde i Paris og i Norge. Noe av rsaken er fremveksten av en ny tid og et nytt musikkideal. I Norge ble bruken av nasjonale elementer etter hvert fremhe-vet som av stor betydning for lykkes som norsk kunstner. Tellefsen var med sitt parisiske ststed ikke opptatt av fremme det norske, verken p et politisk eller kulturnasjonalt plan, og kom heller ikke til f et nrt forhold til nasjonalromantikken. Selv om han hele sitt liv elsket Norge, var hans kulturelle arv preget av opplysningstradisjonen.

Den klassisk-romantiske tradisjonen danner et grunnleggende utgangspunkt for Tellef-sens komposisjonsstil. Tellefsen etterlot seg 44 opus med originalkomposisjoner, som alle ble utgitt p Richaults forlag i Paris. Hans 16 mazurkaer, fordelt p 5 ulike opusnumre, utgjr en markant del av produksjonen. De ble komponert over en relativt lang periode; de frste allerede mens Tellefsen var elev av Chopin, de siste omkring 1860. Mazurka-ene gir i mange tilfeller assosiasjoner til Chopins mazurkaer. I Mazurka op. 14, nr. 2,

som er bygget over rondoprinsippet, benytter Tellefsen i en av episodene et sitat fra innledningen av Chopins Mazurka, op. 30 nr. 1. I mazurkaene benyttet Tellefsen ogs trekk som kan relateres til norsk folkemusikk. Springaren viser slektskap med de polske mazurkatypene bde gjennom taktart, formal utforming og utstrakt bruk av synkope. Vissheten om dette ga trolig Tellefsen ideen om innpasse slttemotiver i mazurkaen. Selv om de norske elementene er mindre fremtredende i lange perioder av satsen, finnes slike elementer bde i form av rytmisk-melodiske vendinger og typiske kadensformler, f. eks. i Mazurka op. 1 nr. 2, og Mazurka op. 14 nr. 3. I midtdelen av Mazurka, op. 1 nr. 4 gjenkjennes ogs et sitat fra en kjent folkevise: En liten gut ifr Tistedalen. Tellefsens mazurkaer viser f spor av modalitet. Til tross for at lydisk kvart er beskrevet som vanlig i norsk slttemateriale, benytter Tellefsen dette virkemidlet bare i en hndfull tilfeller.

Huldredansen, op. 9, Brureslaatten, op. 26 og Walhallafesten, op. 40 henter rytmisk-melodiske motiver fra norsk slttemateriale og m karakteriseres som stiliserte sltter. Selv om de tre stykkene har undertittel Danse Norvegienne, bygger de ikke p hele folkeviser. Stykkenes virtuose passasjer bidrar til at de norske folkemusikkelementene fungerer mer som eksotiske og spenningsskapende virkemidler. Dette skaper et annet ut-trykk enn det som ble foretrukket innenfor et nasjonalromantisk ideal senere i rhundret. Allerede i 1850-rene kommenterte flere norske kritikere bde forbindelsen til Chopins stil og Tellefsens mte utnytte nasjonale elementer p: Hr. Tellefsens egne Komposi-tioner synes fine, for ikke at sige elegante, men ligesom ved Hr. Tellefsens forrige Besg blant os, maa den Tvivl gjentages, at vore Fjeldmelodier eller Indtryk fra Dem ikke passer godt i en Ramme la Chopin. Han sger at bevare dem en vis dmonisk Karakter, men de hopper vk under Forsget. (Morgenbladet, 16. august 1857).

Tellefsen skrev, som Chopin, ogs valser og nocturner. Tellefsens op. 5, 3 Valses bril-liantes, kom ut i 1851. Den andre av valsene i opuset er tilegnet Chopins niese Ludwika Jedrzejewicz, som Tellefsen underviste en kort periode. De to valsene i op. 30, Grande Valse nr. 1, i F-dur, og Grande Valse nr. 2, i f-moll, ble trykt tidlig p 1860-tallet. Jrgen Larsen spiller ogs en fjerde vals i A-dur som etter all sannsynlighet har tilhrt opus 5, men som ikke ble tatt med i den trykte utgaven. Den frste av Tellefsens fire nocturner, Nocturne, op. 2, ble trolig skrevet allerede i 1845, den siste ble trykket i 1872. I noctur-nene benytter Tellefsen bde et tredelt formprinsipp og lsninger der et kort tema ved hjelp av variasjon og ornamentikk danner grunnlag for hele satsforlpet, slik Nocturne i Gess-dur, op. 39, er eksempel p. Paris musikkliv p midten av 1800-tallet er beskrevet som bestende av to ulike verdener, en lysere og lettere verden der det underholdende og populre stod sentralt og en seris

musikkverden med utgangspunkt i konservatoriets konsertrekker og et musikkskolert publikum. I organiseringen av samtidens konserter i Paris ser man p denne tiden kon-turene av en mer moderne konsertkultur med en blanding av offentlige, halvoffentlige og private arrangementer. Tellefsen virksomhet som utver og komponist reflekterer hele dette bildet.

I en rekke av Tellefsens strre klaverstykker str det virtuose aspektet sentralt, som i Ta-rantella, Theme originale et Fantasie, Adagio et Rondo, Ballade, Capriccio appasionato og Impromptu. Etydene Grande Etude og Exercise en sixtes har dobbeltgrep og virtuost passasjeverk som tema. De to stykkene krever smidighet og raske fingre og gir signaler om Tellefsens egen teknikk, som m ha vrt p et hyt niv. Av stykkene i denne kate-gorien skiller Grand Polonaise og Toccata seg fordelaktig ut. Tellefsens polonaise er med sine teknisk krevende passasjer og spill i arpeggierte akkorder og parallelle oktaver karak-teristisk for genren og har referanser bde til Chopin og Liszt. Toccataen, som er en av de eldste instrumentale musikkformer, er virtuos av karakter og har hy vanskelighetsgrad. Dette er tilfellet ogs i Tellefsens Toccata, som, med sin underliggende strm av ulike figurasjoner, stiller store krav til teknisk utholdenhet og fingerspillskontroll. Stykket har form som en sonatesats med to pregnante temaer og er gjennomfrt p en konsekvent og virkningsfull mte.

Tellefsen skrev ogs en rekke karakterstykker i romantisk tradisjon. Feuillets dAlbum, La Petite Mendiante, Pavane de la Reine Elisabeth og Allegretto er stykker som trolig ble komponert i undervisningsyemed. Melodies ccosaises, som er et godt eksempel p samtidens populre variasjoner over nasjonale melodier. Elegi, op.7, munner ut i salmen Hvo ved hvor nr mig er min Ende. Stykket ble skrevet i 1852 til minne om prins Gus-tav, som selv var en habil sanger og pianist. Marche triomphale er trolig identisk med kroningsmarsjen som Tellefsen spilte i Trondhjem i anledning kong Carl XVs kroning i 1860.

Tellefsens kammermusikk avspeiler den serise delen av Tellefsens musikkverden og omfatter seks strre, flersatsige verk for ulike besetninger. I trd med fransk tradisjon er verkene preget av klare formdeler, overveiende diatonisk melodikk og relativt lange perioder med tydelig definerte tonale plan. Sonate, op. 13 ble sannsynligvis komponert i 1848. Frste sats er den av Tellefsens sonatesatser med mest kromatisk preget melodikk. Andre sats har form av en nocturne, mens tredje sats er en humrfylt rondo.

Historien om Tellefsens navn: Den britiske politikeren Sir Thomas Dyke Acland (17781871) var kjent for sitt liberale syn og engasjement i humanitre og religise saker. Sir Acland beskte Norge ved flere anledninger. Allerede i 1813 hadde han mtt Tellef-sens far, som ogs fungerte som bibliotekar i Videnskabernes Selskab i Trondhjem. Etter et nytt besk ni r senere sendte Sir Thomas sitt portrett til Tellefsen-familien. Portrettet ankom akkurat da familiens nyfdte snn skulle dpes. Navnet hans ble Thomas Dyke Acland Tellefsen. Frst mange r senere, da Tellefsen oppholdt seg i London i 1848, traff han Sir Thomas i et privat selskap og fikk endelig innhentet tillatelse til bruke navnet. Tellefsen opprettholdt siden bekjentskapet og beskte Sir Thomas en rekke ganger p hans gods i Devon.

Jrgen Larsen ble fdt 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, fr han i 1980 ble ansatt som akkompagnatr ved davrende Trndelag Musikkonservatorium. Konservatoriet har vrt hans virkested hele tiden siden dette, bare avbrutt av halvannet rs jobb som orkesterpianist i Oslo Filharmoniske Orkester (hs-ten 1988, samt sesongen 1990/91). Han er n frsteamanuensis i klaverfag ved Institutt for Musikk, nTnU (tidligere Trndelag Musikkonservatorium).

Jrgen Larsen har ogs studert med robert riefling, albert Ferber (London) og Dominique Merlet (Paris). etter debutkonsertene i Trondheim og Oslo har han gitt solokonserter i norge, samt London og Paris. Han har ogs spilt med symfoniorkestrene i Bergen, stavanger og Oslo og Trondheim.

Han har markert seg som kammermusiker og akkompagnatr og har sam-arbeidet med bl.a. arve Tellefsen, Bjarne Fiskum, Harald Bjrky, randi stene, gwyn Hughes Jones, Marianne Thorsen, radovan Vladkovich, Kjell erik arnesen, Jonathan snowden og ystein Baadsvik.

I de siste to rene har han hatt store oppgaver bde ved Vinterfest- spillene i Bergstaden og Trondheim Internasjonale Kammermusikkfestival, ved sistnevnte bde som utver og jurymedlem i den internasjonale klaver- triokonkurranse.

Larsens repertoar omfatter over 30 klaverkonserter og solorepertoar som spenner fra Bach og til samtidsmusikk samt kammermusikk av alle kategorier. Han har uroppfrt flere verker av norske komponister, og hans frste solo-CD, great Twentieth Century sonatas, inneholder sonater av alban Berg, samuel Barber, Henri Dutilleux og Fartein Valen. Likeledes har han spilt inn Frank Tveor nordenstens 24 preludier og fuger og medvirket p flere CD-innspillinger med kammermusikk.

I 2004-2006 framfrte Jrgen Larsen alle Beethovens sonater for klaver ved en konsertserie p 8 konserter i Trondheim, noen av konsertene ble gjentatt ved griegakademiet og Universitetet i Troms (avdeling for kunstfag, Musik-konservatoriet) samt rnvik Kirke i Bod.

Jrgen Larsen er fast medlem av Trondheim sinfonietta, Trondheim Trio og Trondheim Kvartett og dessuten orkesterpianist i Trondheim symfoniorkester.

recording Producer and Balance engineer MOrTen LInDBergrecording Technician BeaTrICe JOHannessen

Piano Technician arVe sKJegsTaD steinway C-model

editing Jrn sIMensTaDMix and Mastering MOrTen LInDBerg

rue Lafayette (1891) eDVarD MUnCH norwegian national galleryThomas Tellefsen (1870) sOPHIe rIBBIng ringve Museumsessionphoto of Jrgen Larsen (2011) MOrTen LInDBerg

Text IngrID LOe DaLaKerTranslation rICHarD BUrgess

graphic Design MOrTen LInDBerg

executive Producers Jrn sIMensTaD anD MOrTen LInDBerg

Produced with support from norsk Kulturrd (norsk kulturfond), Fond for Lyd og Bilde, Fond for Utvende Kunstnere, HF-Fakultetet nTnU, Torstein erbos gavefond, stiftelsen Trndelag Musikkonservatorium and ringve Museum

2L is the exclusive and registered trade markof Lindberg Lyd as 2012 [nOMPP1203010-530] 2L-080-PABD

This recording was made with DPA microphones, Millennia Media amplifiers and SPHYNX2 converters to a PYRAMIX workstation in 24 bit/352.8 kHz resolution.

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recorded at ringve Museum, Trondheim, norway May 2010 and February 2011 by Lindberg Lyd as

Blu-ray authoring msm-studios GmbH audio encoding Morten Lindberg screen design Dominik Fritz

authoring Martin Seer project management Stefan Bock Blu-ray producers Morten Lindberg and Stefan Bock

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5.1 DTS HD MA 24/96kHz 2.0 LPCM 24/192kHz

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