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Welcome to Multiturn, a web site for Lars-Erik ter Jung, Norwegian conductor and violinist.

For specific information about his conducting activities, please go to


This site presents his broad musical activity, such as chamber musicand creative activities.

Contact: e-mail
cell phone:
+47 905 37 494

TKO, Telemark Chamber Orchestra

Fabra records, label of ter Jung's CDs.

larserikterjung.no (concerning activities as a conductor)


JKL 8-10 December 1998 ALBEDO
The initials identify a Norwegian trio: Jørgen Træen, Knut Vaage, and Lars-Erik ter Jung, respectively contributing electronics, piano, and violin to imrpovisation sessions which subsequently became the raw material of these studio treatments. The result is an impressive electroacoustic collage ranging in mood from waspish scratchiness to melancholic impressionism. The compositional process has created a remarkable sense of depth and dramatic movement by foreshortening acoustic events, or by getting them to recede from distinct definition into the far distance.
Julian Cowley, ”The Wire”, November 1999.

Quasi una sonata – A variety of Twentieth Century Violin Music
Lars-Erik ter Jung, violin, Einar Henning Smebye, piano. SIMAX PSC 1115
Szymanowski: Mythes, op. 30: La Fontaine d’Arethuse; Narcisse; Dryades et Pan.
Penderecki (arr. Edinger): Cadenza per viola sola.
Ketil Hvoslef: Violino solo.
Schnittke: Sonata No. 2 for Violin and Piano – Quasi una sonata.
”The music on this CD is my very own personal selection,” the violinist writes, ”the CD is as it is because I wanted to play these very pieces of music.” The taut yet gorgeous go at the Mythes, one of the most empathic on discs, establishes immediately that Lars-Erik ter Jung has earned the privilege. And Einar Henning Smebye’s partnership proves intitively attuned. The solo pieces raise the question of whether we can separate the dancer from the dance, that is, the artist from the music – the neo-romantic eloquence of Penderecki’s Cadenza over some seven minutes might have been expected from a composer of his reputation, but the zestful resourcefulness heard in the Violino solo of ter Jung’s teacher, Ketil Hvoslef, defies glib expectations at more than twice that length. Both keep attention at a tense stretch and amply repay it. ter Jung’s enthusiasm for Schnittke is no less palpable, but as the heteroclite clevernesses, rather sparse at the beginning, are brought into closer proximity and worked to a throbbing schnit, I shrug: despite large claims made for this sort of thing, what you hear is what you get – colliding stylistic atoms, or allusive oddments, produce neither a blast nor cold fusion. Schnittke fans will know just what to think of my carping and readily guess that this is a revelatory reading of an admittedly difficult work. Sound is transparently immediate, and the artist’s notes convey an intimate grasp of what these composers are about without resorting to technical patois. An outstanding album, enthusiastically recommended.
Adrian Corleonis, ”Fanfare”, November/December 1995

The Loveliest Song on Earth
Geirr Tveitt: Arrangements for Violin and Guitar from op. 150.
Lars-Erik ter Jung, violin, Njål Vindenes, guitar
Audio Attic Productions CD92101-2
This is one of the loveliest CD presentations I have had the pleasure of seeing. The disc is further enhanced by the excellent yet concise notes in the insert. The story of this music makes fascinating reading indeed, sufficient here to say that the music is based upon Hundrad folkatonar frao Hardanger for piano solo, published by the composer Geirr Tveitt in 1953.
The music performed is so varied, so well arranged by the performers, that there is bound to be something for everyone to enjoy. The playing is excellent as is the recorded sound.
This is a CD to be enjoyed over and over, I have found myself returning to it again and again.
John Arran, ”Classical Guitar”, September 1994

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