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Scan 585
A biographical dictionary of musicians, 1905
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1d'instrumentation" and Lobe's "Catechismus der Musik"; also "Musikalische Erinnerungen und Feuilletons."
3Tebaldi'ni, Giovanni, b. Brescia, 1864(?). Pupil of Paolo Chimeri; at 15, organist of Brescia Cath., and chorusmaster at the Guillaume Th.; entered the Milan Cons. a few years later; expelled 1886 for criticizing a mass written by one of the professors. After a wandering life as organist and journalist, he entered the school for church-music as Ratisbon, and zealously studied theory, comp., and mus. history. Was app. maestro of the "Schola cantorum" at San Marco, Venice; in 1894, maestro at the Padua Cath.; in 1897, Director of Parma Cons. Is a zealous reformer of church-music in Italy.—Works: An opera, Fantasia araba; Messa funebre (w. Bossi); Messa di San Antonio a 4, w. strings and chorus; organ-music (e.g., "Trois pièces," op. 16); and a great Organ-method (see Bossi).
5Tedes'ca, Fernanda, b. near Baltimore, 1860; d. 1885. Violinist; pupil of Wilhelmj, Vieuxtemps, and Léonard.
7Tedes'co, Ignaz (Amadeus), pianist, called the "Hannibal of octaves"; b. Prague, 1817; d. Odessa, Nov. 13, 1882. Pupil of Triebensee and Tomaschek; successful concert-tours, especially in Southern Russia; settled in Odessa. Wrote light and brilliant salon-music: Pf.-concerto, Caprices de concert, mazurkas, waltzes, rhapsodies, nocturnes, transcriptions.
9Te'lemann, Georg Philipp, influential contemporary of J. S. Bach; b. Magdeburg, Mar. 14, 1681; d. Hamburg, July 25, 1767. He had only an ordinary school-training in the mus. rudiments, owing his later eminence to self-instruction. At 12 he wrote an opera d la Lully; at 14 he cond. the music in the Catholic ch. at Hildesheim; in 1700 he entered Leipzig Univ. as a student of law and modern languages, and in 1701 became organist and mus. dir. at the Neukirche, enlarging his choir by a students' singing-society ("Collegium musicum") organized by himself. From 1704-8 he was Kapellm. to Count Promnitz at Sorau; then Concertmeister at the court of Eisenach, where he succeeded Hebenstreit in 1709 as court cond., retaining title and emoluments when called (1711) to Frankfort as Kapellm. at the churches of the "Barefooted Friars" and St. Catherine. From 1721 till death he was town mus. dir. at Hamburg; declining, on Kuhnau's death in 1722, the proffered position of town mus. dir. and cantor of the Thomasschule at Leipzig. An astonishingly productive composer, he wrote with ease and fluency in any desired style; he was far better known in his day than Bach, whose superior depth, dignity, and thorough workmanship have won the day with posterity.—Works: 12 series of cantatas and motets for the church-year (about 3000 numbers with orch. or organ); 44 Passions; 33 installation-numbers for preachers; 33 "Hamburger Capitänsmusiken" (each being a cantata w. instr.l introduction); 20 pieces for jubilees, consecrations, or coronations; 12 funeral services; 14 numbers of wedding-music; over 3000 overtures; many serenades and oratorios; some 40 operas (chiefly for Hamburg).—Publ. works (mostly engraved by T. himself): 12 violin-sonatas (1715, '18); "Die kleine Kammermusik" (1716; 6 suites f. vln., flute, oboe and clavichord); 6 trios f. various instr.s (1718); "Harmonischer Gottesdienst odergeistliche Cantaten" (1725); Airs on the Evangels, f. vocal solo w. basso cont. (1727); "Der getreue Musikmeister" (1728; songs, sonatas, fugues, etc.); sonatas f. 2 flutes or violins, without bass; "Allgem. evang. Liederbuch" (1730); 3 trios and 3 scherzi f. 2 violins or flutes, w. b. cont. (1731); humorous songs f. sopr. w. strings; 6 new sonatinas f. harpsichord solo, or with violin (or flute) and b. cont.; "Scherzi melodichi" f. vln., vla., and bass (1734); 50 minuets f. harpsichord, and other instr.s; "Heldenmusik" (12 marches); 2nd set of 50 minuets; overture and suite f. 2 violins (or oboes), 2 violas, and b. cont.; 6 quartets f. violin, flute, gamba, and b. cont.; "Piombine, ou le mariage mal assorti," intermezzo f. 2 voices, 2 violins, and b. cont.; "Sing-, Spiel- und Generalbass-Uebungen" (1740); "Jubel-Musik" (2 cantatas w. strings; 1733); "Kleine Fugen für die Orgel"; "Tafel-Musik" (3 overtures, 3 symphonies, 3 concertos, 3 quartets, 3 trios, 3 solos); quartets (or trios) f. 2 flutes (or violins) and 2 'celli (or 1 'cello); "Fantaisies pour le clavecin" (3 sets of 12 each); etc.
11Te'lemann, Georg Michael, grandson of preceding; b. Plön, Holstein, Apr. 20, 1748; d. Riga, Mar. 4, 1831, as mus. dir. and cantor.—Publ. "Unterricht in Generalbass-Spielen auf der Orgel . . ." (1773); "Beiträge zur Kirchenmusik," organ-pieces (1785); "Sammlung alter und neuer Kirchenmelodien" (1812); and "Ueber die Wahl der Melodie eines Kirchenlieds" (1821).
13Tel'le, Carl, b. 1826; d. Klosterneuburg, Jan. 6, 1895. Golinelli's successor 1858-88 as ballet-master at the Hofopertheater, Vienna. Wrote over 20 ballets, some being very successful.
15Telford. Pen-name of FRANCIS BOOTT.
17Tellefsen, Thomas Dyke Acland, b. Trondhjem, Norway, Nov. 26, 1823; d. Paris, Oct., 1874. Pianist; pupil (1842) of Chopin in Paris; lived there as a teacher.—Works: 2 pf.-concertos, a pf.-trio, a sonata f. pf. and violin, do. w. 'cello, duos f. pf. and violin, nocturnes, mazurkas, waltzes, etc., f. pf.
19Temple, Hope, b. in Dublin of English parents. Pupil, in London, of J. F. Barnett and E. Silas; in Paris of A. Messager.—Works: Operetta, The Wooden Spoon; numerous songs.
21Templeton, John, b. Riccarton, n. Kilmar-nock, Scotland, July 30, 1802; d. New Hampton, n. London, July 1, 1886. Tenor singer; pupil of Blewitt, Welsh, and T. Cooke. Stage-début at Worthing, 1828; in London in 1831, being eng. at Drury Lane. From 1833-5 he
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