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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
 
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.
 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‘.
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’. .
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.
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.
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.’.
All pieces are commissioned by and dedicated to
Lars-Erik ter Jung and Thomas Kjekstad.
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