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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

www.larserikterjung.no.

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)


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Twitter Machine
Duo Violin and Guitar
Lars-Erik ter Jung and Thomas Kjekstad

Jung  thomas

News:
Three Norwegian composers are writing for Twitter Machine in 2007: Jon Øyvind Ness, Peter Thornquist and Ørjan Matre.

Twitter Machine er på hugget: Jon Øyvind Ness, Peter Thornquist og Ørjan Matre komponerer for duoen i 2007.

Twitter Machine on Fabra FBRCD01.
fbrcd01 Works by: Mark Adderley, Henrik Hellstenius, Eivind Buene, Knut Vaage and Eliza Weisenbaum.The recording was made in February 2003 in the Bø Church. Producer was Geir Inge Lotsberg, engineer was Pytten. Mastering by Audun Strype.
View the painting Twittering Machine.
Links to press: (presently in norwegian only)
Ballade    NRK    Smaalenene    BT
Interview with ter Jung at ballade.no
Listen to sound tracks and buy album here!

Duoen Twitter Machine har jobbet sammen siden 1995. Siden 1999 har de arbeidet bevisst med utviklingen av nyskrevet repertoar for fiolin og gitar, og har bestilt og urframført verk av Mark Adderley, Eivind Buene, Knut Vaage, Henrik Hellstenius, Lars Petter Hagen og Magnar Åm. Flere av disse verkene ble utgitt på CDen Twitter Machine i 2004, som fikk en meget godt mottagelse i pressen. Nye bestillinger av blant andre Ørjan Matre, Peter Thornquist og Jon Øyvind Ness blir realisert i 2007.
Duoen har også arbeidet med improvisasjon, både akustisk basert og med integrering av elektronikk. I forhold til det historiske repertoaret har Twitter Machine konsentrert arbeidet primært om musikk av Johan Sebastian Bach og Geirr Tveitt, samt om utvalgte transkribsjoner av spansk og søramerikansk musikk.
ter Jung og Kjekstad har reist på en rekke turnéer for Rikskonsertene, der de har spilt skolekonserter for ungdom. De siste årene har de presentert et program der verket "Twitter Machine" av Mark Adderley er satt i fokus og fremføres sett i perspektiv av JS Bachs Invensjoner. På denne måten vektlegger Lars-Erik ter Jung og Thomas Kjekstad to vesentlige moment i sitt arbeid med å holde konserter for ungdom: de presenterer, som høyt kvalifiserte musikere, det repertoaret de faktisk jobber med som profesjonelle utøvere til daglig, uten kompromiss; og på denne måten formidler de samtidsmusikk og klassisk musikk "live" for de unge, noe som ikke er dagligdags i dagens norske skole.
Twitter Machine har mottatt støtte fra Fond for utøvende kunstnere og Fond for lyd og bilde til sin turnévirksomhet, og har holdt en rekke konserter i Norge i regi av foreningen Ny Musikk. Duoen har bl.a. spilt på Iliosfestivalen og Borealisfestivalen, samt medvirket under Blålyd i 1999. Twitter Machine er en selvfølgelig del av den musikalske virksomheten under "Klosterdagane", den årvisse minifestivalen på Halsnøy Kloster i Sunnhordland.

Thomas Kjekstad er utdannet ved Norges Musikkhøgskole og er nå en aktiv utøver med hovedvekt på moderne musikk, både notert og improvisert. Han er medlem av Affinis Ensemble (som ble valgt til Årets Utøver 2006 av Norsk Komponistforening) og Oslo Sinfonietta. Kjekstad har også spilt med bl.a. MIN Ensemblet, Den Norske Operas Orkester, Ensemble Ernst og Cikada samt vært solist med KORK og Oslo Filharmoniske Orkester. Han har opptrådt på flere av de større festivalene i Norge, som Ultima, Ilios og Borelis.
I duoen Twitter Machine (fiolin og gitar) har han og Lars-Erik ter Jung arbeidet med å realisere nye norske verk av en rekke komponister for denne uvanlige, men velklingende besetningen. I 2004 ga de ut CDen "Twitter Machine", med nyskrevne verk av bl.a. Mark Adderley og Henrik Hellstenius.
Thomas Kjekstad har turnert for Rikskonsertene i en årrekke og engasjert seg i pedagogisk arbeid bl.a. ved Norsk Gitarfestival, Talentskolen i Oslo og Konservatoriet i Kristiansand.

Thomas Kjekstad (b.1971) received his education at the Norwegian Academy of Music where he finished his master’s degree in 1997. Kjekstad has played in master classes for among others John Williams, Alirio Diaz, David Russel and Leo Brouwer. In the last years he has been studying with Magnus Andersson in Stockholm. In 1993 Kjekstad received 2nd price in the Norwegian Guitar Contest.
Thomas Kjekstad is frequently on tour for The Norwegian Concert Institute. He has as a soloist and chamber musician performed at festivals such as Copenhagen Guitar Festival, Norwegian Guitar Festival, Trondheim Chamber Music Festival, Oslo Chamber Music Festival, Autunnale and Young Nordic Music in Gothenburg.
In 2000 he was one of two soloists performing in Photophorus by Olga Neuwirth with Oslo Philharmonic Orchestra in the Ultima Festival’s opening concert. In 2001 Thomas Kjekstad played a concert of works for guitar solo, the programme including Royal Winter Music by Hans Werner Henze.
Thomas Kjekstad is a member of Oslo Sinfonietta and the contemporary music ensemble Affinis. He has also performed with Cikada and Ensemble Ernst and toured with Oslo Philharmonic Orchestra. Kjekstad regularly performs with violinist Lars-Erik ter Jung. Their collaboration has led to the appearance of several interesting new works for violin and guitar.

About the works on the cd:

Mark Adderley:
It seems to me that I have at last reached a stage in my musical development where I have managed to create a room for myself in which I can move about quite freely. I have fashioned for myself tools and materials which I can harness to my creative thoughts and feelings for Music, and produce works which I hear correspond rather faithfully with my inner imagination. The tools and the materials from which are produced my compositions are un-teachable attributes. One creates one`s own design from learning from the models of others; by imitating and absorbing the works of one`s rolemodels, idols, heroes, call them what you will. One creates what one is through the examples of what others were. In the end it is the Creative Spirit of the creators, I am here, of course, including the performers, which guarantees the coherence and consistency of a piece of music. The title refers to a picture by Paul Klee called ‘Twittering Machine‘.
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Henrik Hellstenius:.
’Between two’ is written in the form of a spiral in time. The harmonic material and the soundmaterial is circulated in an oblique way, making the piece rotate around a small amount of longer and shorter harmonic stratas and soundobjects. This material is then composed into three different types of events which the piece consists of, defined as ’chorals’, ’improvisations’ and ’variations’. .
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Eivind Buene:
’Delta Ground Duo’ is a variation of ’Delta Ground Blues’ for solo guitar. The music is a hommage to the Norwegian writer Tor Ulven, and is part of a cycle called Anatomic Notebook. Besides being an acclaimed author Ulven was also an enthusiastic blues lover; it seemed a natural thing to base the piece on the form, format and harmonies of the traditional blues. In performance Thomas Kjekstad uses phrasing and figurations more typical of the blues than of the classical guitar. The simple harmonic progressions are gradually transformed until a point at which they no longer appear to bear any resemblance to the blues. In Delta Ground Duo the traditional hierarchy between violin and guitar is reversed so that the guitar takes the role of solo instrument and the violin the role of accompanying instrument.
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Knut Vaage:
The idea for this piece came after reading ’Merk verden’ by the Danish scientist and journalist Tor Nørretranders. In his book Nørretranders refers to the Scottish physicist James Clerk Maxwell and certain theories he published in the 1860s. Maxwell philosophised over the idea of perpetual motion resulting from the ordering of air molecules. Air molecules move at different speeds; if they all moved at the same speed, the temperature would remain constant and there would be no heat loss. Maxwell envisaged a demon in the air sorting the molecules according to their speed, placing them in separate compartments along with other molecules moving at the same speed. The temperature would then remain constant; a warmed-up room, for instance, would require no more energy to stay warm. In practise this would naturally be difficult to do, but the phenomenon is known today as ’Maxwell’s demon’. The title ’A Small Devil Tries to Make Order Out of the Air’ refers to this theory, as do the musical ideas in the piece.
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Eliza Weisenbaum:
’I think dying is something very strange. You are somebody, you have a memory, and if I kill you, in one second you will be only a dirty, disgusting object (...) A photo of somebody is a memory of a subject but is now an object. A corpse is a memory of a subject but is now a disgusting object.’ (CHRISTIAN BOLTANSKI) Music from the TV-series ’Neues aus Uhlenbusch’ is used in ’In memory of: (subjects)’ with permission from Graziano Mandozzi. Neil Brennans music from ’The way of the exploding fist’ is used with permission from ’Infogrames entertainment inc.’.
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All pieces are commissioned by and dedicated to Lars-Erik ter Jung and Thomas Kjekstad.

 

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