Line Tjørnhøj (b. 1960)

Line Tjørnhøj’s compositions are all part of a larger picture, different glimpses of the same collage. She also insists that the individual elements in a performance are inseparable: the notes, the choreo­graphy and the lighting are interrelated and belong to the work as a whole. The sounds made by the per­formers are integrated into the rest of the music, e.g. running on a hard surface, skipping or the noise of water, also sampled and repeated as manipulated electronics. In the string quartet Requiem (2011) the performers are required to memorize the material in order to speak and act, as the choreo­graphy is closely linked to the instrument being played and essential to the final sound picture.

Tjørnhøj describes the voice as basic to the human sound universe with its immediate access to our ears and emotions. She typically deals with timeless problems and emotions via stories from our own time. She is well known for dealing with cruel subjects where men and women are challenged to the utmost as a consequence of the misuse of power in its various forms. She exploits the soothing quality and beauty of the voice to establish a space for the impossible and painful stories she has narrated in the course of her career as a composer.

Line Tjørnhøj (b. 1960) studied composition with Simon Steen-Andersen at the Royal Academy of Music, Aarhus. Her musical inheritance is unique and her contribution to the auditive sound world can be recognized from far off. As a youth she was apprenticed as a sailor and travelled round the world. Later she worked as a nurse. She wrote her first music at the age of 35 and since then her compositions have been acclaimed by critics and audiences.

In 2010 the music committee of the Danish Arts Foundation awarded Line Tjørnhøj its three-year working stipend for a classical composer.

Selected works:

TUSK (2016)

Art vox reportage (2013-2014)

Tomorrow’s Child (2011)

Stabat Mater (2009)

Daughter (2008)

Anorexia Sacra (2006)

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