Grappa musikkforlag Cecilie Ore: Codex Temporis

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Cecilie Ore: Codex Temporis

CECILIE ORE: FUTURUM EXACTUM · ERAT ERIT EST · LEX TEMPORIS · PRAESENS SUBITUS

Cikada String Quartet · Christian Eggen, conductor · Oslo Sinfonietta

Title

Playing time

1 - PRAESENS SUBITUS
09:04

2 - FUTURUM EXACTUM
17:50

3 - ERAT ERIT EST
22:01

4 - LEX TEMPORIS
14:57

It is also possible to but digital music here musikkonline.no

"So changed now that it"s begun. So transformed. Already a difference between it and it, as nothing is what it was. Already time between it and it, between here and there, between then and now. Already the span of space between it and something else, it and more, it and something, something new, which now, in this now, already has been, in the next now is, and keeps on. Moves" (Excerpt from "Det by" Inger Christensen)

All the titles reflect a preoccupation with time. The "now" containing both the past and future. What lies between the notes? What is it that holds them together, bristling in the time they inhabit? Cecilie Ore was born in Oslo 1954. She studied composition with Ton de Leeuw at Sweelnick Conservatorium in Amsterdam and at the Institute of Sonology in Utrecht.

Cikada String Quartet Christian Eggen Oslo Sinfonietta Cecilie Ore

Download Press Kit

Release:

21.01.1996
EAN:

7044581349892
Catalog Number:

ACD4989
Price Category:

1CDK

Contemporary Music | Chamber Music

Codex Temporis is a draining listening experience, but a marvelous one. [The Wire]

“- Codex Temporis' er i all sin eksotiske fjernhet et av de vektigste - og i hvert fall 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. [Geir Johnson / Aftenposten]“

“- Here is a mind-blowing glimpse of another world and a CD which makes one ashamed to know so little of contemporary Norwegian music. [Peter Grahame Woolf / Musicweb UK]“

“- Eine Verheissung für die Zukunft? "Futurum exactum" von Cecilie Ore, das mit dem Wechsel von massiven Klangblöcken und Glissandobewegungen einen eigenen Sog entwickelte, setzte einen markanten Schlusspunkt im Kleinen Saal der Zürcher Tonhalle. Doch bildete das Stück für verstärktes Streichorchester, das nicht zuletzt durch seine Lautstärke faszinierte, eine Ausnahme. [Jürg Huber : Die Kraft der Tradition]“

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