Thomas Tellefsen

Thomas Dyke Acland Tellefsen (26 November 1823 – 6 October 1874)[2][3] was a Norwegian pianist, composer, and teacher. As a composer, Tellefsen wrote 44 opuses,[4] including solo piano works, two piano concertos, and chamber music. He dedicated many of his compositions to the Polish, Russian, and French aristocracy.

Tellefsen c. 1860[1]

Life

Tellefsen, the youngest of six siblings,[4] was born in Trondheim, Norway, where he studied with his father Johan Christian Tellefsen (1774–1857)—the organist at Trondheim Cathedral[3]—and with Ole Andreas Lindeman.[2][5] Thomas gave his first public concert in his home town in the spring of 1842, age 18.[2] Until he was 19, he had studied to be a priest; instead, he turned to music, and moved to Paris to seek tutelage under Frédéric Chopin.[6][7][8] Here, he became the pupil of his compatriot Charlotte Thygeson (1811–1872; a daughter of Nicolai Emanuel de Thygeson),[1]: 176–177  and later attended—free of charge—the lessons of her teacher and friend Friedrich Kalkbrenner.[2][9]

Tellefsen's "highest wish"—to study under Chopin—was hugely difficult. Tellefsen stated that it was "more difficult to reach Chopin than Louis-Philippe". It was not until November 1844—through the influence of George Sand—that Tellefsen finally attained this wish. Tellefsen's letters indicate Chopin's interest in him, spending as much as three hours at a single lesson,[3] even though they were supposed to last only an hour.[10] During the years 1844 to 1848,[3] he was taught periodically by Chopin, who also became his personal friend (up until his death) and had considerable influence on his musical taste, style of playing, and compositions. In 1847, Tellefsen also studied composition with Henri Reber.[1]: 96  The French Revolution of 1848 caused Tellefsen to relocate to London.[1]: 104  In the same year, Tellefsen accompanied Chopin—alongside Jane Stirling—on a tour through England and Scotland.[2][3]

Shortly before his death, Chopin told his elder sister Ludwika that he wished to entrust the completion of his "Pianoforte Method" to Tellefsen, also wishing for Tellefsen to be musical tutor to his niece. Tellefsen referenced this method in a letter to his mother dated 28 December 1849, in which he states, "I am working hard on all this now". Whether or not he actually completed this work is not known; no record of his efforts have been discovered so far. After Chopin died in 1849, some of his pupils—including Stirling—resumed their studies under Tellefsen.[3][11] He also taught Erika Nissen, née Lie.[12] According to Tellefsen, Ludwika gave him the only complete manuscript of Chopin's compositions remaining after his death, which Tellefsen later used for his edition of Chopin's works.[3] This edition, titled Collection des oeuvres pour le piano par Frédéric Chopin en douze livraisons (published in 1860 by Richault in Paris), was criticized by fellow Chopin pupil and editor Karol Mikuli, who noted its errors and omissions.[13][14]

Princess 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.[11] His program included compositions by Chopin and himself. Soon after that, Tellefsen became regarded as one of the most outstanding pianists of his time, and was especially admired as an interpreter of Chopin's music and as a composer in his own right.[3] In the 1850s and 1860s, Tellefsen was regarded as a very successful pianist, and he toured several times in England, Sweden, and in Norway. Around 1861, ill health caused him to focus more on teaching and on composing.[2] In 1870, the Franco-Prussian War caused Tellefsen to move to London.[15]

Tellefsen died in Paris. He is buried at the Cimetière d'Auteuil. He was a Knight of the "Seraphine" Order of Norway.[15]

Name

Tellefsen was named after his godfather, Sir Thomas Dyke Acland, 10th Baronet, as chosen by his father Johan.[3] Sir Thomas sent to the Tellefsens his portrait as a gift, which arrived just before the baptism of their newborn son; thus, they named him Thomas Dyke Acland Tellefsen. However, Thomas opted first to sign his name only as "Thomas Tellefsen".[16]

In a letter to his father dated 8 June 1848, Tellefsen described—during his stay in London—his meeting with Sir Thomas:[16]

One evening, I was at a soirée at the home of Sir Robert Inglis. . . . [he] introduced me to many people, and finally said: and now I will introduce you to a gentleman who travelled around Norway and who will be most pleased to speak to you; imagine my astonishment when I saw a lively, handsome old man whose name was Thomas Acland . . . , in one instant, we became friends; I told him at once the story of my name. And then he presented me to the whole company as Thomas Acland Tellefsen! What a beautiful moment for me.

It was only after this event that Tellefsen began writing his name in full; as "T. D. A. Tellefsen".

Compositions

Among his published works, Tellefsen wrote 16 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. Though Tellefsen's studies with Chopin show in his compositions, Chopin said of them, "there are the seeds of originality in you".[3] Tellefsen used traditional Norwegian songs in many of his works (e.g., in his first piano concerto and in his mazurkas);[2][7] in this aspect, he can be considered a forerunner of his compatriots Grieg, Svendsen, and Sinding.[3]

Works with opus number
Title Opus Section/movement Tempo marking Key Genre Year Notes
4 Mazurkas 1 No. 1 Allegro A major Piano solo 1846 or before [n 1][1]: 169 
No. 2 Allegro A minor
No. 3 Moderato E minor
No. 4 Moderato A major
Nocturne No. 1 2 — Andante cantabile F major Piano solo 1849 [n 2]
4 Mazurkas 3 No. 1 Moderato G minor Piano solo 1849 [n 3]
No. 2 Vivace G major
No. 3 Allegro vivace B♭ major
No. 4 Mesto F♯ minor
Ave Maria 4 — Pas trop lent G major Vocal music 1850 c. [n 4][1]: 175–176 
3 Valses brillantes 5 No. 1 — A♭ major Piano solo 1851 [n 5][17]
No. 2 Vivace G major
No. 3 Allegro moderato E major
Tarentelle 6 — Molto vivace E♭ major Piano solo 1853 [n 6]
Élégie 7 — Molto adagio F minor Piano solo 1853 [n 7]
Piano Concerto No. 1 8 First movement Allegro moderato G minor Piano and orchestra 1847–48 [n 8]
Second movement Andante E♭ major
Third movement Finale. Allegro G minor
Huldredansen 9 — Allegro moderato G minor Piano solo 1853 [n 9]
Adagio et Rondo 10 — Adagio; allegro moderato B minor Piano solo 1853 [n 10]
Nocturne No. 2 11 — Andante cantabile E major Piano solo 1853 [n 11]
Thème Original et Fantaisie 12 Thème Andante B♭ minor Piano solo 1855 c. [n 12]
Fantaisie Adagio D♭ major
Piano Sonata 13 First movement Allegro moderato C minor Piano solo 1848 c. [n 13]
Second movement Adagio A♭ major
Third movement Rondo. Vivace C major
6 Mazurkas 14 No. 1 Allegro D minor Piano solo 1853/54 [n 14]
No. 2 Leggiero G major
No. 3 Leggiero F minor
No. 4 Moderato F major
No. 5 Allegro vivace D major
No. 6 Lento simplice C minor
Piano Concerto No. 2 15 First movement Allegro moderato F minor Piano and orchestra 1853 [n 3]
Second movement Adagio E major
Third movement Finale. Mouvement de Tarentelle F minor
3 Feuillets d'album 16 No. 1 Allegro moderato B♭ major Piano solo 1855 [n 15]
No. 2 Lento A♭ major
No. 3 Marche funèbre. Legato C minor
Nocturne No. 3 17 — Adagio ma non troppo G minor Piano solo 1855 [n 16]
Grande Polonaise 18 — Moderato C♯ minor Piano solo 1855–56 c. [n 17]
Violin Sonata No. 1 19 First movement Allegro moderato G major Chamber music 1855–56 [n 18]
Second movement Adagio E♭ major
Third movement Scherzo. Presto G minor
Fourth movement Finale. Allegro vivace G major
Allegretto 20 — Simplice A major Piano solo 1856 [n 19]
Cello Sonata 21 First movement Allegro E♭ major Chamber music 1857 [n 20]
Second movement Allegretto G minor
Third movement Finale. Allegro E♭ major
Toccata 22 — Allegro F major Piano solo 1857 [n 21]
La petite mendiante 23 — Allegro ma non tropo E minor Piano solo 1858 [n 22]
Grande Mazurka 24 — — B♭ major Piano solo 1858 [n 23]
Grande Étude 25 — Allegro C♯ minor Piano solo 1858 [n 24]
Bruraslaatten 26 — Maestoso D major Piano solo 1858 [n 25]
Valse 27 — Moderato D♭ major Piano solo 1863 c. [n 26]
Ballade 28 — Allegretto C minor Piano solo 1860 [n 27]
Marche triomphale 29 — Allegro moderato. Maestoso E♭ major Piano solo 1861 [n 28]
2 Grandes Valses (Nos. 5 & 6) 30 No. 1 Moderato F major Piano solo 1861 [n 29]
No. 2 Moderato F minor
Piano Trio 31 First movement Allegro maestoso B♭ major Chamber music 1861 [n 30]
Second movement Scherzo. Moderato D minor/D major
Third movement Adagio E♭ major
Fourth movement Finale. Allegro B♭ major
— 32 No. 1 Berceuse. Andante G major Piano solo 1862 [n 31]
No. 2 Joyeux Refrain. Allegro D major 1863
No. 3 Dans la Vallée, Idylle. Andante ma non troppo A major 1863 c.
Mazurka (Polskdans) 33 — — A major Piano solo 1863 [n 32]
Au travers d'un songe 34 — Andante A♭ major Piano solo 1868 [n 33]
Air de ballet 35 — Allegretto D minor Chamber music 1865 c. [n 34]
Capriccio appasionato 36 — Allegro non troppo B minor Piano solo 1868 [n 35]
Violin Sonata No. 2 37 First movement Largo — Allegro — Presto E minor Chamber music 1867 c. [n 36]
Second movement Interlude (complainte). Andante E major
Third movement Thème varié. Andante E major
Impromptu 38 — Allegro G minor Piano solo 1872 [n 37]
Nocturne No. 4 39 — Andante G♭ major Piano solo 1872 [n 38]
Walhallafesten 40 — Moderato G minor/G major Piano solo 1870 c. [n 39]
Sonate pour deux pianos 41 First movement Allegro maestoso B minor Piano duo 1870 c. [n 40]
Second movement Andante D major
Third movement Finale. Moderato B major
Melodies écossaises 42 First section Andante con moto F♯ minor/F♯ major Piano solo 1868 c. [n 41][18]
Second section quarter note = 60 D major/D minor/B♭ major
Third section quarter note = 144 A major
Étude 43 — Allegro E major Piano solo 1867 c. [n 42]
Pavane de la Reine Elisabeth 44 — Andante noblement C♯ minor/D♭ major Piano solo 1870 c. [n 43]

Works without opus number

Tellefsen's works without opus numbers are either piano studies or liturgical pieces. His Moderato, written in 1842, is one of his very first attempts in composition. Another collection of works consists of 21 short fughettas, versetti, and cantabile pieces, suitable in length in Roman Catholic and Lutheran services during the time in which they were written. The versetti are organ verses played in alternation with sung verses of hymns. The preludes were played for organ or pedal piano. 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 Catalogue number Tempo marking Key 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 44]
Prelude — Allegro moderato G major 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 45]
Fughetta II — C major
Fughetta III — C major
Fughetta IV — A minor
Fughetta V — A minor
Fughetta VI — A minor
Fughetta 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 46]
Fuga — — D Piano solo — [n 47]
Prelude II — — G major Piano solo — —
Adagio — Alla breve D minor 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 48]
Prelude on the Hymn "I Jesu Navn" — — G minor Piano solo — [n 49]

Notes and references

Notes
  1. Dedicated to Sophie Laporte, Tellefsen's student, and later, his good friend. There was even talk of marriage between them, but after a break in 1850, they went their separate ways.
  2. Dedicated to Jane Stirling.
  3. Dedicated to Marcelina Czartoryska.
  4. Dedicated to Christence Sophie Thiis on the day of her First Communion. Written for soprano with piano accompaniment. Tellefsen was good friends with Christence's father, Johan Fredrik Monrad Thiis (1805–1887).
  5. No. 1 was dedicated to Z. Auber, No. 2 to Ludwika Jędrzejewicz, and No. 3 to Charlotte Jane Stirling of Glenbervie (27 September 1838 – 1866), a niece of Jean "Jane" Wilhemina Stirling.
  6. Dedicated to Baron Nathaniel von Stockhausen, the Hanoverian ambassador to France, to whom Chopin also dedicated his Ballade No. 1.
  7. Dedicated to the memory of François Gustave Oscar (son of Oscar I), hereditarian prince of Sweden and Norway. The piece ends with the hymn "Wer weiß, wie nahe mir mein Ende", which is sung to the melody of "Wer nur den lieben Gott läßt walten" by Georg Neumark.
  8. Dedicated to Oscar I. The concerto has a traditional bridal march from Sogn used as the main theme and a rhythmic theme as a second theme taken from the Halling dance.
  9. Dedicated to Countess Delfina Potocka, née Komar. The title can be translated as "Dance of the Hulders"; it may have been written for the annual carnival celebration for Norwegian artists in Paris.
  10. Dedicated to Charlotte de Rothschild. The title is also known as Adagio, Cantabile et Rondo.
  11. Dedicated to Lady Mary Murray, née Rigby (1778–1861); wife of Sir John Archibald Murray.
  12. Dedicated to Tellefsen's friend and fellow Chopin pupil, Paul Gunsberg (died 1845). This composition has an introduction marked Largo.
  13. Dedicated to Countess Genovefa Paulina Emilia Puslowska, née Drucka-Lubecka (1821–1869); a daughter of Franciszek Ksawery Drucki-Lubecki.
  14. Nos. 1 and 2 were dedicated to Princess Anna Andreyevna Trubetskaya, née Countess Gudovich; wife of Prince Nikolai Ivanovich Trubetzkoy and a granddaughter of Ivan Gudovich. Nos. 3 and 4 were dedicated to Countess Anna Nina Branicka, née Hołyńska h. Klamry (1824–1907); daughter of Michał Hołyński and wife of Aleksander Branicki. Nos. 5 and 6 were dedicated to Countess A. Mniszech (possibly Anna Maria Barbara Ludwika hr. Wandalin-Mniszech h. Kończyc (1827–1885), wife of Count Andrzej Jerzy Mniszech). No. 2 is entitled La Ronde.
  15. Dedicated to Princess Elisabeth Czartoryska (possibly Izabella Elżbieta Czartoryska).
  16. Dedicated to Countess Eleonora Laura Świeykowska h. Trzaska, née Lachman (1827–1892).
  17. Dedicated to Her Royal Highness Wilhelmina Frederica Alexandra Anna Lowisa, royal princess of Sweden and Norway.
  18. Dedicated to His Majesty Guillaume III, Roi des Pays-Bas. Written for violin and piano.
  19. Dedicated to Madame Sherman.
  20. Dedicated to Her Catholic Majesty Isabella II, Reine d'Espagne. Written for cello and piano.
  21. Dedicated to Countess Anna Nina Branicka, née Hołyńska h. Klamry.
  22. Dedicated to Princess Maria Vasilyevna Vorontsova, née Princess Trubetskaya (1819–1895); a daughter of Prince Vasily Sergeyevich Trubetskoy and second wife of Prince Semyon Mikhailovich Vorontsov. The title can be translated as "The Little Beggar Girl".
  23. Dedicated to Baroness Leonora de Rothschild (1837–1911), wife of Alphonse de Rothschild.
  24. Dedicated to Madame Barbe de Stolypine (possibly Varvara Alekseyevna Stolypina, née Bakhmetyeva (1816–1896); a daughter of Alexey Nikolaevich Bakhmetev).
  25. Dedicated to Princess Julie Galitzin (probably Princess Julia Górska, née Golitsyn (1840–1914); sister of Grigory Golitsyn). The title can be translated as "Bridal Tune"; its subtitle is Danse Norvégienne (Norwegian Dance [No. 2]). It may have been written for the annual carnival celebration for Norwegian artists in Paris.
  26. Dedicated to Charlotte de Rothschild.
  27. Dedicated to Gioachino Rossini.
  28. Dedicated to Baroness Marguerite de Contades, née Countess de Broc.
  29. No. 1 was dedicated to Madame Marquess de Béthisy (possibly a daughter of Alfred-Charles-Gaston de Béthisy), and No. 2 to Cécile Anspach (wife of Gustave de Rothschild).
  30. Written for violin, cello, and piano.
  31. No. 1 was dedicated to Countess Eleonora Laura Świeykowska h. Trzaska, née Lachman; No. 2 to Lady Ashburton, née Stuart Mackenzie; and No. 3 to Madame Amélie Lecarpentier, née Brunet. This composition, divided into three sections/movements, has no title. Some sources list it as Berceuse, while others just as Op. 32. All written for violin (alternatively, for cello) and piano.
  32. Dedicated to Jenny Lind Goldschmidt. The subtitle can be translated as "Polish Dance".
  33. Dedicated to Countess Genovefa Paulina Emilia Puslowska, née Drucka-Lubecka. The title can be translated as "Through a Dream".
  34. Dedicated to Tellefsen's friend Stefan August Świeykowski h. Trzaska (1848–1876), son of Eleonora Laura.
  35. Dedicated to Mlle C. Vannier.
  36. Dedicated to Oscar II of Sweden and Norway. Written for violin (alternatively, for cello) and piano.
  37. Dedicated to Tellefsen's friend Count Zygmunt Władysław Mikołaj Pusłowski (1848–1913), a son of Genovefa and father of Xawery Pusłowski.
  38. Dedicated to Tellefsen's friend Count Francis Xaverius Pusłowski (1843–1908), a brother of Zygmunt.
  39. Dedicated to Victoire Fernández de Velasco (née Balfe), duchess of Frías. The piece is subtitled Fête à Valhalla, Danse Norvégienne No. 3, which can be translated as "Party in Valhalla, Norwegian Dance No. 3". It may have been written for the annual carnival celebration for Norwegian artists in Paris in 1869.
  40. Dedicated to Pedro II of Brazil.
  41. Dedicated to Madame Hutchinson. After Tellefsen fled from Paris to London following the Franco-Prussian War, he apparently rented an apartment for teaching in Hutchinson's boarding house.
  42. Dedicated to Madame Delaborde (possibly Sophie-Victoire Delaborde, George Sand's mother). This étude is one of the pieces that Isidor Philipp incorporated into his set of 12 Etudes de virtuosité, which also includes pieces composed by Alkan, Méreaux, Kessler, Willmers, Mayer, and Liszt.
  43. Dedicated to Betty von Rothschild.
  44. Kimer, I klokker was a Christmas hymn written by Henrik Rung and N. F. S. Grundtvig in 1856 at the invitation of the vicar of Mern, Peter Rørdam.
  45. Fughettas Nos. II, VI, VII, and XIV for 4 voices; Nos. III–V, VIII–XIII, and XV for 3 voices. Fughetta XII written in the Dorian mode. Interlude, Mellonspill in Norwegian and Zwischenspiel in German, written in the Dorian mode as well.
  46. Written in the Phrygian mode.
  47. Written in the Dorian mode.
  48. A Norwegian, eight-line-verse 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.
  49. 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. Tellefsen, Thomas Dyke Acland (1923). Thomas Tellefsens Familiebreve (in Norwegian). Vol. 2. Oslo: Steenske Forlag.
  2. Baker, Theodore; Slonimsky, Nicolas (1995). Dictionnaire biographique des musiciens (in French). Vol. 3. Internet Archive (8th ed.). Paris: Éditions Robert Laffont. p. 4188. ISBN 978-2-221-07778-8.
  3. Grove, George (1966). Blom, Eric (ed.). Grove's Dictionary of Music and Musicians. Vol. 8. Internet Archive (5th ed.). New York: St. Martin's Press. p. 372.
  4. "Thomas Tellefsen (1823-1874)" (in Norwegian). Trodnheim.no. Archived from the original on 2014-04-08. Retrieved 2014-04-08.
  5. "Thomas Tellefsen". Norwegian biographical encyclopedia. Retrieved 2014-04-08.
  6. Riemann, Hugo (1900). Dictionary of Music. Translated by Shedlock, John South. London: Augener & Co. p. 782.
  7. Fétis, François-Joseph (1867). Biographie universelle des musiciens (in French). Vol. 8 (2nd ed.). Paris: Firmin-Didot Frères. p. 199.
  8. Mendel, Hermann; Reissmann, August (1870). Musikalisches Conversations-Lexikon (in German). Vol. 10. Berlin: Robert Oppenheim. pp. 131–132.
  9. "Thomas Tellefsen". greatcomposers.nifc.pl. Retrieved 2023-04-07.
  10. Schonberg, Harold Charles (1987). The Great Pianists (Completely revised and updated ed.). New York: Simon & Schuster. p. 158. ISBN 978-0-671-64200-6.
  11. "Thomas Dyke Acland Tellefsen". Arena. 2009. Retrieved 2014-04-08.
  12. Pratt, Waldo Selden, ed. (1929). The New Encyclopedia of Music and Musicians (New and revised ed.). New York: Macmillan Inc. p. 539.
  13. "Thomas Tellefsen". greatcomposers.nifc.pl. Retrieved 2023-06-19.
  14. Huneker, James Gibbons (1901). "Chapter 6. The Studies: Titanic Experiments". Chopin: The Man and His Music. New York: Charles Scribner's Sons. p. 141.
  15. Pauer, Ernst (c. 1896). "The Piano: Composers, Performers, and Makers". In Stainer, Sir John; Parry, Sir Charles Hubert Hastings (eds.). A Dictionary of Pianists and Composers for the Pianoforte. London; New York: Novello, Ewer & Co. p. 121.
  16. "Thomas Tellefsen". greatcomposers.nifc.pl. Retrieved 2023-04-07.
  17. Sterling, Albert Mack (c. 1909). "The Stirlings of Kippendavie and Kippenross: Dunblane, Perthshire". The Sterling Genealogy. Vol. 1. New York: The Grafton Press. p. 141.
  18. "Thomas Tellefsen". greatcomposers.nifc.pl. Retrieved 2023-06-21.

Bibliography
  • (no) 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.
  • (no) 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.
  • (en) Lim, Mikyung (December 2014): The Influence of Norwegian Folk Elements on Thomas Dyke Tellefsen’s Mazurkas Op. 3 (1849) and Op. 14 (1853). Doctor of Musical Arts (Performance) at the University of North Texas.
This article is issued from Wikipedia. The text is licensed under Creative Commons - Attribution - Sharealike. Additional terms may apply for the media files.