(b Plasencia, c1510; d Palencia, 5 May 1585). Spanish singer and composer. He was a younger brother of Alonso Ordóñez (maestro de capilla of Santiago de Compostela Cathedral for six years and of Palencia Cathedral from 3 April 1536), and took orders in the diocese of Palencia. On 29 April 1539 he was admitted to the papal choir as a bass, remaining there until at least 1550. He was soon chosen to represent the Spanish papal singers in their business affairs, and on 11 January 1545 was elected abbas of the papal choir for one year. Ordóñez probably joined the Council of Trent soon after 27 January 1546, and in any case on 11 March 1548 was at Bologna (where the council was then in session) with four other papal singers. Suffering from sciatica, he was allowed sick leave from Bologna on 30 May 1549 to visit the baths at Padua, and on 17 November he returned from Bologna to Rome.
On 24 June 1551 he succeeded his brother Alonso as maestro di capilla at Palencia Cathedral, and on 4 December 1552 he competed unsuccessfully against three other candidates for the post of maestro de capilla at Toledo Cathedral; the Palencia cathedral authorities ordered him to give daily music lessons to all cathedral personnel and citizens who wanted to study music in November 1554. On 7 June 1577 the Palencia chapter urged him to care for the choirboys no less zealously than had his brother, and on 30 August 1577 named him a diocesan examiner in ‘ecclesiastical music’ of all the Palencia clergy. Two months later the chapter decided to engage an assistant, Tomé Cabeza, ‘on account of his age and infirmity’. Because of his ‘merits and his many years of service, as well as his age and sickness’ he was dismissed from his post as maestro and awarded a cathedral prebend on 9 April 1578.
Ordóñez's only known works are two sonetos printed in Esteban Daza's collection of vihuela music, El Parnasso (Valladolid, 1576): Ay mudo soy hablar non puedo and Ay fortuna cruel – Lebantaron muy alto. The first of these is a lover's lament, the second reproaches Fortune and Cupid.
R. Casimiri: ‘I diarii sistini’, NA, x (1933), 326–43, esp. 329; xi (1934), 300–15, esp. 313
J. López-Calo: La música en la catedral de Palencia, i: Catálogo musical. Actas capitulares (1413–1684) (Palencia, 1980), esp. 465
J.M. Llorens Cisteró: ‘Cinco cantores españoles en la capilla pontificia’, AnM, xxxvi (1981), 89–90
M. Pérez Gutiérrez: ‘Pedro Ordóñez, cantor español de la capilla pontificia, no murió en 1550’, Nassarre: revista aragonesa de musicología, iv/1–2 (1988), 201–4
F. Reynaud: La polyphonie tolédane et son milieu des premiers témoignages aux environs de 1600 (Paris, 1996)
A term used by François Couperin (1713–30), François Dagincourt (1733), Philippe Veras (1740) and Coelestin Harst (1745) for a group of pieces in the same key. It is possible that for Couperin ordre meant something larger than a suite. In the preface to Les nations (1726), a collection of ensemble music, he explained that the sonades served as introductions to the suites; the whole complex was called an ordre. Four of the ordres of his first harpsichord book begin with suites of the late 17th-century type and continue with more up-to-date character-pieces. The later ordres, however, do not exhibit this dichotomy, and Couperin's imitators used the term as a synonym for ‘suite’. Brossard's dictionary definition of ordine, or ordre, makes no mention of sets of pieces; however, each suite in G.B. Brevi's Bizzarie armoniche (1693) is called an ordine.
M. Reimann: Untersuchungen zur Formgeschichte der französischen Claviersuite (Regensburg, 1940/R)
O. Baumont: ‘L'ordre chez François Couperin’, François Couperin: Nouveaux regards: Villecroze 1995, 27–41
(b Oslo, 19 July 1954). Norwegian composer. A piano student at the Norwegian State Academy of Music and in Paris (1974–81), Ore subsequently turned to composition studies at the Institute of Sonology in Utrecht and with Ton de Leeuw at the Sweelinck Conservatory in Amsterdam (1981–6). In the 1980s Ore won international recognition for several of her electro-acoustic works, receiving an honourable mention at the Concours International de Musique Electro-Acoustique Bourges 1985 for Im-Mobile, and both first and second prizes at the International Rostrum for Electro-Acoustic Music 1988 for Etapper (‘Stages’). In the same year she also received the Norwegian Society of Composers’ ‘Composition of the Year’ award for Porphyre, as well as the Norwegian State Guarantee Income for Artists. Towards the end of the decade Ore became increasingly involved with the problem of time in music, an involvement which resulted in the tetralogy Codex temporis (Praesens subitus, Erat erit est, Futurum exactum, Lex temporis). Another significant landmark is the orchestral work Nunc et nunc (1994), commissioned by the BBC SO. Ore frequently uses the computer as a compositional tool, and her music has a distinctly modernistic flavour due to its strict constructivism and austere sonorous universe.
Orch: Porphyre, 1986; Nunc et nunc, 1994
Vocal, chbr and solo inst: Helices, wind qnt, 1984; Ex oculis, vocal qt, 1985; Contracanthus, db, 1987; Praesens subitus, amp str qt, 1989; Erat erit est, amp, chbr ens, 1991; Futurum exactum, amp str ens, 1992; Lex temporis, amp str qt, 1992; Ictus, 6 perc, 1997
El-ac: Etapper [Stages], 1988; Prologos, stage music, 1990; Festina Lente, 1996; In Situ, sound installation, 1996
Principal publishers: Norsk Musikforlag, Norwegian Music Information Centre
C. Ore: ‘Tid, teknologi, tanke’, Ballade (1988), nos.2–3, pp.64–9
K. Skyllstad: ‘Time for Responsibility’, 25 Years of Contemporary Norwegian Music, ed. K. Skyllstad and K. Habbestad (Oslo, 1992), 183–7
B. Billing: ‘Cecilie Ore: a Matter of Time’, Listen to Norway, i/1 (1993), 24–5
R. Toop: ‘The Codex Temporis Cycle’, Aurora ACD 4989 (1995) [disc notes]