Codex Temporis

Here is a mind-blowing glimpse of another world and a CD which makes one ashamed to know so little of contemporary Norwegian music. Cecilie Ore (b.1954) studied in Holland and has been widely performed in Northern countries. She is preoccupied with aspects of time and its perception and organisation and employs the same time machines to construct the four pieces - 'polyphonic clockworks ticking relentlessly'.

The structure of the first Praesens Subitus (1989) is 'generalized' by computer to generate the other pieces. Ore amplifies the instruments in all the pieces of this 'tetralogy', eliminating any associations with 'gentility' for the string quartet. Futurum Exactum (1992) for string ensemble and Erat Erit Est (1991) for a sinfonietta-type orchestra of 15 instruments.

They are overwhelming to hear and best taken separately. The first and shortest, for string quartet, establishes her style. It relates to Crumb's Black Angels and, further back, to the insistent tremolando which must have shocked earlier listeners to Schubert's Op 161. Trilled semitone glissandi with constant accents are pervasive, there are fortissimo sul ponticello glissandi, sudden silences, broken articulations of irregular repeated notes with snap pizzicato and col legno battuto, with four sections based on Fibonacci proportions. The effect of the whole is astringent and invigorating - if you can take it!

Erat Erit Est brings back more variety of timbre and harmony, and a heightened dramatic feel to this 22 minute composition and may be best heard next. Futurum Exactum for a dozen strings is even more aggressive. If you have responded positively to Xenakis and early Penderecki I think you will be glad to make the acquaintance of this formidable Norwegian.

Her music is discussed fully in a not too jargon-filled essay by Richard Troop; production and recording are excellent. A significant discovery.
MusicWeb 2001, Peter Grahame Woolf

Codex Temporis is a draining listening experience, but a marvelous one.
The Wire 2001, Andy Hamilton

Cecilie Ores musikk foreligger på en CD som bokstavelig talt flytter grensene for hva som har vært utgitt på plate innen norsk samtidsmusikk. 'Codex Temporis' er et av de vektigste - og mest spesielle - bidragene innen nyere kunstmusikk, og bør ikke være uhørt av noen som mener seg berettiget til å ha en oppfatning om norsk musikks utvikling i vår tid. 
Aftenposten 1996, Geir Johnson


För att kunna förstå sig själv måste tonsättaren (konstnären) kunna översätta lyssnarens självförståelse till sitt eget liv. Det är denna process som Cecilie Ore verkar inse är grundkoden för hela musicerandet. Det är det som gör henne till en stor komponist. 
Gränslöst, 3/1997, Guido Zeccola

Codex Temporis er et verk som krever lytterens fulle oppmerksomhet, men som samtidig gir mulighet for lange, sterke opplevelser av en type som er sjelden i dag.
Nye Musikken 5/1996, Peter Larsen

Aurora har udsendt musik af Cecilie Ore, som er noget af det mest eksplosive, jeg længe har hørt. Hendes Codex Temporis for elektronisk forstærket strykekvartet og sinfonietta er en på alle måder stor oplevelse.
Information 1997, Thomas Michelsen

Er det noe Codex Temporis er, så er det modent.
Klassekampen, Klassisk Klassiker, Egil Baumann

Cecilie Ore
Composer
  • Come to the Edge! (excerpt)
  • This excerpt from Come to the Edge! is made possible with kind permission from BBC Radio 3. The work is performed by BBC Singers and conducted by Nicholas Kok. www.bbc.co.uk/radio3 // www.bbc.co.uk/bbcsingers