Orlando Gibbons (bapt. 25 December 1583 – 5 June 1625) was an English composer and keyboard player who was one of the last masters of the English Virginalist School and English Madrigal School. The best known member of a musical family dynasty, by the 1610s he was the leading composer and organist in England, with a career cut short by his sudden death in 1625. As a result, Gibbons's oeuvre was not as large as that of his contemporaries, like the elder William Byrd, but he made considerable contributions to many genres of his time. He is often seen as a transitional figure from the Renaissance to the Baroque periods.

Gibbons was born into a musical family where his father was a wait, his brothers—Edward, Ellis and Ferdinand—were musicians and Orlando was expected to follow the tradition. It is not known under whom he studied, although it may have been with Edward or Byrd, but he almost certainly studied the keyboard in his youth. Irrespective of his education, he was musically proficient enough to be appointed an unsalaried member of the Chapel Royal in May 1603 and a full-fledged gentleman of the Chapel Royal as junior organist by 1605. By 1606 he had graduated from King's College, Cambridge with a Bachelor of Music degree.

Throughout his professional career, Gibbons had increasingly good relations with many important people of the English court. King James I and Prince Charles were supportive patrons and others, such as Sir Christopher Hatton, even became close friends. Along with Byrd and John Bull, Gibbons was the youngest contributor to the first printed collection of English keyboard music, Parthenia, and published other compositions in his lifetime, notably, the First Set of Madrigals and Motets (1612) which includes the best known English madrigal: The Silver Swan. Other important compositions include "This Is the Record of John", the 8-part full anthem "O Clap Your Hands Together" and 2 settings of Evensong. The most important position achieved by Gibbons was his appointment in 1623 as the organist at Westminster Abbey which he held for 2 years until his death.

Gibbons developed Byrd's foundations of the English madrigal, full and verse anthems, and by doing so he exerted significant influence on subsequent English composers. This generation included his oldest son Christopher, who would teach John Blow, Pelham Humfrey and Henry Purcell, the English pioneer of the Baroque era. After his death he was primarily remembered a composer of sacred music. Since the early music revival however, increased attention has come to his other compositions, with his keyboard works championed by Glenn Gould, while his madrigals and viol fantasies are popular among early music ensembles. By the 21st-century almost all of his music has been published and recorded.

Life and career

Birthplace and background

Orlando Gibbons was born in Oxford. Until the early 20th-century he was believed to have been born in Cambridge. This was accepted as fact by his contemporaries, stated in multiple early biographies and even recorded on in his memorial monument in Canterbury Cathedral, erected soon after his death. It is even possible that Gibbons himself thought that he was born in Cambridge, since he spent most of his life there and only the first four to five years of his life in Oxford. Matters are made more confusing as his father had lived in Cambridge for at least ten years before the birth of Gibbons. Therefore, even though 17th-century biographer Anthony Wood discovered a record of an "Orlando Gibbons" being baptised in St Martin's Church, Oxford, it was assumed that Gibbons was born in Cambridge but baptized in Oxford. Modern historians have proved the claim that he was born in Cambridge to be incorrect. Not only was the baptismal record shown to be authentic, but it was discovered that Orlando's parents both resided in Oxford at the time of his birth, confirming that Orlando was born in Oxford and baptized at St. Martin's, Oxford.

The Gibbons family can be traced back to Richard Gibbons ( 1577), who was a glover active in Oxford; by 1549/50 he became a hanaster. Richard's son William was probably born in 1540 and at some point married Mary, whose maiden name is unknown. By 1567, William became wait at Cambridge by 1567. From 1580 to 1588 he lived in Oxford, where he was a city councillor and head of the town waits there.

Early life
While in Oxford, William and Mary had Orlando as probably the seventh of nine surviving children. There is no surviving record of the date of his birth, but he is recorded as being baptised at St. Martin's on Christmas Day 1583. It would be consistent with the normal practice of the time that Gibbons was born no more than a week before his baptism. Gibbons's father had previously lived in Cambridge where he was also the head of the town waits and around 1588, when Orlando was 4–5 years old, the Gibbons family moved back to Cambridge and William resumed his previous post there.

Orlando was born into a musical family: not only was his father a musician, but his oldest brother, Edward, was a composer and master of the Choir of King's College, Cambridge. His second brother, Ellis, was a promising composer but died prematurely, and his third brother, Ferdinando, eventually took their father's place as a wait. Not much else is known about Orlando Gibbons's youth, but being born into a musical family he was almost certainly instructed on a keyboard instrument and perhaps the viol. At the age of 12, he became a member of Edward's Choir of King's on 14 February 1596. He was a regular member of the choir until some time in the Michaelmas term of 1598. In the Easter term (summer term) of the same year he enrolled at King's College, Cambridge as a sizar, meaning he paid reduced fees but had to do various menial tasks. From 1598–99 Gibbons's name appeared sporadically in the chorus member logs, suggesting that, if not a clerical error, he continued to sing from time to time, perhaps for special occasions.

Gibbons's composition teacher is also unknown. It is possible he continued study with Edward, though there is no record of this. Another possible composition teacher is William Byrd, who was at least 40 years his senior and the most respected English composer at the time. Gibbons and Byrd along with the composer John Bull later collectively published music and since Bull was a student of Byrd's, Gibbons may very well also have been. Regardless of how his musical education came about, Gibbons was known to be composing music by the end of his time at the choir in 1599, at age 15–16. There is nothing known of Gibbons from then until 1603.

Early career and marriage

Gibbons's abilities had reached the point to allow him become a musician of the Chapel Royal by at least 19 May 1603. The Chapel Royal was a sizable group of priests and musicians who attended to the Monarch and royal household and Gibbons name appears at this time in a cheque book of the Chapel. Gibbons was a Gentleman Extraordinary (unpaid substitute) awaiting the vacancy of a paid position. Earlier that year King James I had ascended to the throne; in all likelihood Gibbons took part in the hymns and anthems of the 25 July coronation. 1603 was a year of mixed fortunes: he received his first position as a professional musician, but in the same year both his mother and his brother Ellis died. The plague may have been what his brother Ellis succumbed to. Eventually Gibbons's awaited vacancy occurred with the death of Arthur Cook in January 1605, and on 21 March 1605 he secured the prestigious position of Gentleman of the Chapel Royal, as the junior chapel organist. Edward Gibbons's friendship with the former organist, Arthur Cook, and the senior chapel organist, John Bull, may have helped his younger brother secure this position. Gibbons kept the position until the end of his life.

In 1606 Gibbons married Elizabeth Patten on 17 February. Her father, John Patten, was a yeoman of the vestry in the Chapel Royal, and probably well acquainted with Gibbons, which would have helped to bring about the marriage. When John Patten died in 1623, he made Gibbons his sole heir, residuary legatee and left 200 pounds for his children. Later in 1606, Orlando graduated from Cambridge with the degree of Bachelor in Music. Gibbons and his wife lived in Woolstaple (now Bridge Street) which was in the parish of St Margaret's, Westminster, the church where Gibbons's seven children—James, Alice, Christopher, Ann, Mary, Elizabeth and Orlando—would be baptised.

Publishing and patronage
By the 1610s Gibbons had become a composer of high repute and the most outstanding organist in England. He became a close friend of Sir Christopher Hatton, the second cousin and heir of the more famous Christopher Hatton, favourite of Queen Elizabeth I. Though Hatton was a minor figure in court, he became an important patron to Gibbons. The next few years saw the publishing of various works by Gibbons, firstly his 1612 First Set of Madrigals and Motets from the patronage of Hatton. One of the Madrigals in the set was The Silver Swan, often considered the most famous English madrigal. Gibbons dedicated the entire set of works to Hatton: "[The songs] were most of them composed in your owne [sic] house, and doe therefore properly belong unto you, as Lord of the Soile; the language they speake you provided them, I onely furnished them with Tongues to utter the same name". The English musician Frederick Bridge interpreted this as implying that Hatton wrote some or all of the poems that Gibbons set to music in his Madrigals and Motets. However, the musicologist Edmund Fellowes noted that it is unlikely Gibbons was an actual resident of Hatton's household, although their friendship suggests that Hatton may have set a room aside for him to compose. The death of King James's son, Prince Henry Frederick, was a considerable shock to the English, as many considered him a promising heir to the Kingdom. James in particular went into a deep depression; many wrote works to mourn his death, including writers Ben Jonson and George Chapman as well as composers John Coperario and the retired Byrd. Among these was probably Gibbons's Nay let me weep from the recently published First Set of Madrigals and Motets. It is also possible that the full anthem I am the resurrection was for Prince Henry's burial, though there is no firm evidence for this.

In 1613 Gibbons had six works published in the first printed collection of English keyboard music, Parthenia, which included works by the older composers, Byrd and Bull. This publication was to celebrate the marriage of the Princess Elizabeth Stuart to Frederick V of the Palatinate. Gibbons's compositions written around the time of Parthenia include various anthems dedicated to senior nobles and clergy: the pavane Lord Salisbury for Lord Salisbury, the wedding anthem Blessed are all they for the Earl of Somerset, as well as anthems for Godfrey Goodman, William Laud and Anthony Maxey. Such works suggest that he was well associated throughout the court and that he was aiming for a permanent post. Frederick returned to Heidelberg with Elizabeth in 1613 and the couple was accompanied by a vast entourage, including Coperario and the harpist Daniel Callinder. A list of attendants includes "Gibbons", which presumably refers to Orlando Gibbons, meaning that the composer spent some time in the capital of the Electoral Palatinate. Gibbons seems to have taken Bull's place, who was in financial jeopardy.

In 1614 William Leighton published The Teares and Lamentatacions of a Sorrowfull Soule with 2 contributions by Gibbons, O Lord how do my woes increase and O Lord, I lift my heart to Thee. Although he possibly started as early as 1605, Gibbons was the joint organist of the Royal Chapel with Edmund Hooper by at least 1615. The same year he received two grants from King James I, worth 150 pounds total. These grants were: "For and in consideration of the good and faithful service heretofore done unto ourself by Orlando Gibbons our organist, and divers other good causes and considerations us thereunto moving". Gibbons continued writing for James I, composing the anthem Great King of Gods and the court song Do not repine, fair sun in celebration of the King's 1617 visit to Scotland.

Late career

By the late 1610s Gibbons was undoubtedly the most important musician and composer at court as Byrd had been long-retired in Essex and Bull had left for the Low Countries in late 1614. In 1617 Gibbons gained the position as keyboard player in an ensemble, organised by John Cooper, for the privy chamber of Prince Charles (later King Charles I). Gibbons was the only keyboardist in a group of 17 musicians which included Alfonso Ferrabosco the younger, Thomas Ford, Robert Johnson and Thomas Lupo. The Prince himself was thought to have occasionally joined on either the Bass-Viol or Viol da Gamba. It is likely that Gibbons, along with Coperario, was able to write for this ensemble and had pieces premiered by it. In addition to this, Gibbons probably gained a 3rd position in September 1619, attending the royal privy chamber of James I. His next major work, Fantasies of Three Parts was published around 1620 and dedicated it to Edmund Wray. This seemingly random dedication has provoked much speculation. It may be because Wray could secure Gibbons a better post, or it may be an action of gratitude for having already secured him the post for the royal privy chamber of the King.

While once assumed to be fact, there is now much doubt whether Gibbons received a Doctorate of Music in May 1622. In 1692, Wood stated:

This uncertainty has continued until the present day. Gibbons's 8-part full anthem, O clap your hands was sung on 17 May 1622 at the degree ceremony for William Heather. Heather had financially supported William Camden's creation and maintenance of the Camden Professor of Ancient History chair, and in return the university awarded him the honorary degrees of bachelor in music and doctor of music, even though he was not known to be a musician. The author Sir John Hawkins and musicologists Fellowes and David Mateer state unequivocally that Gibbons was awarded a doctorate along with Heather, and cite O clap your hands as the composer's qualifying exercise for the degree. Other musicologists—Peter Le Huray, John Harper and John Harley—express some doubt whether Gibbons received a doctorate. Specifically, Harley cites a record in the Cheque book of the Chapel Royal that refers to William Heather as "doctor" but Gibbons as "senior organist." The same writer refers to a letter from Camden to William Piers from 18 May 1622 that says Gibbons is a Doctor of Music. Harley suggests that the authenticity of the letter is uncertain, since the original does not survive; he suggests that Camden could have written something such as "G––––s," which an editor assumed to mean Gibbons. The most convincing piece of evidence is thought to be the absence of mention of the supposed doctorate of music on Gibbons's Cambridge monument, erected in his memory when he died. Although the existing evidence seems to support the conclusion that he never achieved a doctorate in music, there is no indisputable evidence to confirm it.

Final years and death

Some time in 1623, George Wither published Hymnes and Songs of the Church in which Gibbons provided the tunes for most of the songs. The same year he succeeded John Parsons as the organist at Westminster Abbey, with Thomas Day as junior organist. This was probably the most important position Gibbons had taken in his career thus far and on 7 May 1625 he officiated at the funeral of King James I.

During late May 1625, the English court was preparing to receive Queen Henrietta Maria, whom the now King Charles I of England had married through proxy in France on 1 May. Gibbons and other Chapel Royal members had begun travelling to Canterbury on 31 May when Gibbons suddenly succumbed to an illness, probably a brain haemorrhage. He died at age 41 in Canterbury and was buried in Canterbury Cathedral. His death was a shock to his peers and brought about a post-mortem, although the cause of death aroused less comment than the haste of his burial and his body's not being returned to London. His wife Elizabeth died a little over a year later, in her mid-30s, leaving Orlando's eldest brother, Edward to care for the orphaned children.

Character

There is little known about Gibbons's personality or character. Harley names this, along with the period between his time in the Choir of King's and his appointment at the Chapel Royal (1599–1603), as the largest gaps in the modern understanding of Gibbons. The lives of his contemporaries Byrd and Bull make Gibbons's life seem comparably dull. Byrd frequently found himself in court—once even against Gibbons's father William—in disputes over property or accusations that he was Catholic in post-Reformation England. Bull on the other hand had to flee the country while chief organist of the Chapel Royal on charges of adultery. One incident in Gibbons's life, however, is described by Harley as "the most bizarre event of Gibbons's career". A complaint in 1620 reported that Henry Eveseed, a yeoman of the vestry, assaulted Gibbons, the report saying: he "did violently and sodenly without cause runne uppon Mr Gibbons took up and threw him doune uppon a standard... and withall he tare his band from his neck". Other than this, the relative normality of Gibbons's life suggests he maintained good relations with his employers and fellow musicians. His patron Hatton seems to have become a close friend. In fact, Hatton and his wife, Alice Fanshawe, were probably the namesakes of two of Gibbons's two eponymous children. Other close acquaintances throughout his life included Wray, his father-in-law John Patten and his older brother Edward. It is also possible Gibbons had a particularly close relationship with Prince Charles; Gibbons's death's "formal observation, investigation, and reporting, perhaps suggests how close he may have been to the new king."

Gibbons's music may give some insight into his character. His career was primarily centered around court, where he seems to have been increasingly successful. Indeed Gibbons's Chapel Royals post at age 19, and then 21, would have been an impressive feat, comparable to Byrd becoming the organist and choirmaster of the Lincoln Cathedral in his early twenties. Each of the four positions he held centered around his ability as a keyboardist. Contemporary accounts hold him in high regard in this respect; during a 1624 visit from the French ambassador, John Hacket said upon entering Westminster Abbey that "At the entrance, the organ was touched by the best finger of that age, Mr. Orlando Gibbons." John Chamberlain stated in a letter to Sir Dudley Carleton on Gibbons's death that he had "the best hand in England".

Music

His oeuvre as a whole suggests he was comfortable composing in the genres he had established himself in, rarely adventuring to unexplored genres.

Gibbons wrote a large number of keyboard works, around thirty fantasias for viols, a number of madrigals (the best-known being "The Silver Swan"), and many popular verse anthems, all to English texts (the best known being "Great Lord of Lords"). Perhaps his best-known verse anthem is "This Is the Record of John", which sets an Advent text for solo countertenor or tenor, alternating with full chorus. The soloist is required to demonstrate considerable technical facility, and the work expresses the text's rhetorical force without being demonstrative or bombastic. He also produced two major settings of Evensong, the Short Service and the Second Service, an extended composition combining verse and full sections. Gibbons's full anthems include the expressive O Lord, in thy wrath, and the Ascension Day anthem "O clap your hands together" (after Psalm 47) for eight voices.

Gibbons's surviving keyboard output comprises some 45 pieces. The polyphonic fantasia and dance forms are the best represented genres. Gibbons's writing exhibits a command of three- and four-part counterpoint. Most of the fantasias are complex, multi-sectional pieces, treating multiple subjects imitatively. Gibbons's approach to melody, in both his fantasias and his dances, features extensive development of simple musical ideas, as for example in Pavane in D minor and Lord Salisbury's Pavan and Galliard.

Legacy
In the 20th century, the Canadian pianist Glenn Gould championed Gibbons's music, and named him as his favourite composer. Gould wrote of Gibbons's hymns and anthems: "ever since my teen-age years this music ... has moved me more deeply than any other sound experience I can think of."

In one interview, Gould compared Gibbons to Beethoven and Webern:

Gibbons's death, on 5 June 1625, is regularly marked in King's College Chapel, Cambridge, by the singing of his music at Evensong. A number of Gibbons's church anthems were included in the Oxford Book of Tudor Anthems.

Musicologist and composer, Frederick Ouseley, dubbed him to be the "English Palestrina." Gibbons paved the way for a future generation of English composers by perfecting Byrd's foundations of the English madrigal as well as both full and verse anthems, and especially by teaching music to his oldest son, Christopher, who in turn taught John Blow, Pelham Humfrey and most notably Henry Purcell, the English pioneer of the Baroque era. The modern music critic John Rockwell claimed that the oeuvre of Gibbons: "all attested not merely to a significant figure in music's past but to a composer who can still speak directly to the present."

References

Notes

Citations

Sources

Early

Modern
Books

Journal and encyclopedia articles

Online

Further reading
See  for an extensive bibliography

External links

Free scores

 Free scores by Orlando Gibbons at the Mutopia Project

Miscellaneous

16th-century births
1583 births
1625 deaths
Alumni of King's College, Cambridge
English Baroque composers
Burials at Canterbury Cathedral
Classical composers of church music
Composers for harpsichord
16th-century English composers
English madrigal composers
English classical composers
English male classical composers
Renaissance composers
English classical organists
British male organists
Gentlemen of the Chapel Royal
Master of the Choristers at Westminster Abbey
Musicians from Oxford
17th-century English composers
17th-century classical composers
17th-century English musicians
Choristers of the Choir of King's College, Cambridge
Male classical organists

Orlando Gibbons


Orchestra Baobab is a Senegalese band established in 1970 as the house band of the Baobab Club in Dakar. Many of the band's original members had previously played with Star Band de Dakar in the 1960s. Directed by timbalero and vocalist Balla Sidibé, the group featured saxophonists Issa Cissoko and Thierno Koité, two singers, two guitarists and a rhythm section with drums, congas and bass guitar. Since their formation, the band has predominantly played a mix of son cubano, Wolof music, and to a lesser extent Mande musical traditions. Following the deaths of Cissoko in 2019 and Sidibé in 2020, Thierno Koité has become the leader of the band.

Orchestra Baobab became one of the dominant African bands of the 1970s, recording 20 albums before their breakup in 1987, which occurred as a result of the increase in popularity of mbalax, a more contemporary genre of Senegalese music. In the years following their disbandment, World Circuit released several of their albums on CD, making the band very popular among world music fans in the UK and the rest of Europe. This prompted their reformation in 2001, which was followed by the recording of a new album, Specialist in All Styles. The group continues to tour extensively and has released two more studio albums, Made in Dakar (2007) and Tribute to Ndiouga Dieng (2017).

History

Early years: 1970–72
Many of the original members were veterans of the famous Star Band, whose alumni later included the Étoile de Dakar, El Hadji Faye and Youssou N'Dour. Star Band were the resident band of the upscale Dakar Miami Club. When the Baobab Club opened in Dakar in 1970, six musicians, led by saxophonist Baro N'Diaye, were lured from Star Band and the Orchestra Baobab was born. The club, in turn, is named for the baobab tree (Adansonia).

The original frontmen of the band were the Casamance singers Balla Sidibé and Rudy Gomis, who came from the melting pot of Casamance musical styles, and most famously Laye M'Boup, who provided vocals in the Wolof griot style. His Wolof language lyrics and his soaring, nasal voice defined the sound of Baobab's early hits. Togolese guitarist and arranger Barthélémy Attisso was a law student in Dakar, and a self-taught musician, whose arpeggiated runs became instantly recognizable. With the saxophone of Baro N'Diaye, this was the first core of the band. After touring Cameroon in 1971, N'Diaye was replaced by tenor saxophonist Issa Cissoko, who became leader of the band, and was joined by clarinettist Peter Udo. Both Cissoko and drummer Mountaga Koité were from Maninka griot families, from Mali and eastern Senegal, respectively. The group's lineup was rounded out by the slow groove Latin styles of Latfi Benjeloum (rhythm guitar), who came from a Moroccan family exiled to Saint-Louis, Senegal, and Charlie N'Diaye (bass) from Casamance.

The group's first recordings were released as Orchestre Saf Mounadem on a split album with Orchestre Laye Thiam, another band of ex-Star Band musicians. Attisso is credited as musical director, and singers Balla Sidibé and Medoune Diallo (who had stayed with the Star Band a bit longer than the others), along with Issa Cissoko are also credited on the cover. Like most of the recordings by Star Band, the album was produced by Ibrahim Kassé, and was later reissued in France under the title Star Band de Dakar Vol. 7.

Their first two albums under the name Orchestra Baobab, were recorded at the Baobab Club between 1970 and 1972, and self-produced by the band. Both bear the title Orchestre du Baobab.

Rise to fame: 1973–78
The band continued to tour throughout Africa, popularising their combination of Afro-Cuban music and Senegalese traditions. Unlike other bands from the country, they combined the Casamance harmonies and drumming from southern Senegal with melodies from Togo and Morocco to the Wolof tradition from northern Senegal. Traditional Wolof singing was provided by Laye M´Boup until his death in June 1975. He was replaced by Ndiouga Dieng, who stayed with the band until his own death in 2016. In 1974, an 18-year old singer joined the band on recommendation of M'Boup himself: Thione Seck, who later achieved great success as a solo artist when he left the band in 1979. His younger brother Mapenda Seck also provided vocals occasionally after the death of M'Boup. Most of the Spanish-language hits by the band were sung by Medoune Diallo, whose mother tongue was Fula.

With the independent Dakar-based label Buur Records, run by the owners of the Baobab Club, the group released five albums between 1975 and 1976: Bawobab 75, Guy Gu Rey Gi, Senegaal Sunugaal, Visage du Senegaal and Adduna jarul naawo.

Looking for success beyond the African continent, Orchestra Baobab went to Paris in 1978 to record new material with producer Abou Sylla. The resulting two LPs, On verra ça and Africa 78, although receiving great critical acclaim retrospectively, did not prove successful. The group lost money on the trip and returned to Senegal. They recorded two albums, released by Musicafrique: Ndeleng Ndeleng and Une nuit au Jandeer.

Club closure and new recordings: 1979–82
By the end of the 1970s, the band concluded its residency at the Baobab Club, which closed its doors in 1979. At this point, they were Senegal's biggest band, "commanding fees of about $4,500 for a single show." In the early 1980s, with the advent of the cassette, the group began releasing albums in this format. Their 1981 albums Mouhamadou Bamba and Sibou odia extended their success into the new decade, helped by their hit "Autorail", composed by Medoune Diallo.

In 1982, they recorded enough material for several cassettes (Vol. 1: Senegambie,  Vol. 2: Ngalam), as well as an LP, Ken dow werente. Among the songs recorded for these sessions was "Utru horas", which was included in the various artists compilation Panorama du Senegal.

Decline and disbandment: 1983–87
As the 1980s progressed, competition from mbalax, a new funk-inspired genre spearheaded by Youssou N'Dour's Super Étoile de Dakar, overwhelmed Orchestra Baobab. Although bandleader Balla Sidibé tried to make some changes in the mid-1980s by including two female singers in their lineup and getting Rudy Gomis back as lead singer, their popularity had been significantly reduced. Their 1986 cassette releases did not have the impact of previous albums and in 1987 the band effectively broke up. Many of the members formed or joined other groups, and Barthélémy Attisso returned to Togo to practice law and stopped playing his instrument.

European reissues: 1989–99
By the end of the 1980s, world music had become one of the newest trends in the European and American music industry, with albums such as Paul Simon's Graceland selling millions of copies. This prompted specialized music labels to seek African recordings and reissue them on CD. One of such labels, World Circuit, run from London by Nick Gold, released Orchestra Baobab's 1982 sessions in 1989 under the title Pirate's Choice, a reference to the many bootleg releases of such songs.

In 1992, World Circuit reissued the 1978 Paris sessions on one CD, and in 1993 Stern's Music, another London-based world music label, released Bamba, a compilation of the band's 1981 albums. In 1998, the band's debut album, along with several bonus tracks recorded between 1970 and 1971, were released in the Netherlands as N'Wolof. In 1999, the German label Popular African Music released Roots and Fruit, a compilation of the band's 1970s recordings.

Reunion: 2001–present

Specialist in All Styles

Following the widespread critical acclaim received by the band's European releases, World Circuit persuaded the group to reform in 2001. Most of the original line up reunited to play London's Barbican Centre in May 2001. Afterwards, the band re-recorded many of their classic songs in state-of-the-art studios in London (Livingston Studios), Paris (Studio Davout) and Dakar (Studio Xippi). The resulting album, Specialist in All Styles, was released in 2002. It was produced by Youssou N'Dour and featured a guest appearance by Cuban singer Ibrahim Ferrer alongside N'Dour himself. Ferrer had been retired for decades before the 1996 recording of the Buena Vista Social Club album, organised and produced by Nick Gold. The release of the album was accompanied by a world tour, which included performances on TV such as their appearance on Later... with Jools Holland in October 2002.

Orchestra Baobab gained attention from American media in 2003 when musicians Trey Anastasio and Dave Matthews filmed a documentary named Trey and Dave go to Africa which aired on VH1. The two visited Senegal and performed with Orchestra Baobab during the program. They performed again together on the Late Show with David Letterman in May 2004. In July 2005, Orchestra Baobab performed at Live 8 in Johannesburg, a series of concerts to raise awareness and funds to end poverty.

Made in Dakar
In October 2007, Orchestra Baobab released the album Made in Dakar on World Circuit to critical acclaim. The album contains new recordings of some of their classic songs such as "Pape Ndiaye" and "Nijaay". In May 2009, Syllart released La Belle Époque, a compilation of the band's 1970s recordings, including several previously unreleased songs. The package included a biography by Radio France Internationale journalist Pierre René-Worms, focusing on the early years before the group split. CD 1 comprises recordings made at Club Baobab, Dakar, in 1971, 1973 and 1976, while CD 2 includes their 1978 Paris sessions. A second volume was released in 2011, featuring recordings made between 1973 and 1976.

Tribute to Ndiouga Dieng
Ten years on from their previous release, after the retirement of Attisso, the departure of Benjeloun and the death of Ndiouga Dieng in November 2016, Orchestra Baobab continue to tour and record new material. Dieng was replaced by his son, Alpha Dieng. Under Balla Sidibé's leadership, they released Tribute to Ndiouga Dieng on 31 March 2017. The album features Beninese guitarist René Sowatche as Attisso's replacement and, for the first time, the band incorporates a kora player, Abdoulaye Cissoko. There are also appearances of ex-member Thione Seck and popular singer Cheikh Lô. The album release was accompanied by a world tour with concerts in played in the UK, France and Norway.

As the band approached its 50th anniversary, its key members passed away. Issa Cissoko died in March 2019 at the age of 72, while Balla Sidibé died in July 2020, aged 78. Despite the loss of both of its leaders, Orchestra Baobab decided to continue, with longtime saxophonist Thierno Koité as its new director. Former lead singer Thione Seck (aged 66) and former guitarist Barthélémy Attisso (aged 76) both died in 2021. Rudy Gomis suffered from severe meningitis in October 2016 and went into a coma. He fully recovered in 2020, but died at the age of 75 in April 2022.

Awards
After being separated for 15 years Orchestra Baobab reunited in 2001. The reunited group went on to win the award for best African artists and the critics' choice award at the 2003 BBC Radio 3 World Music Awards. The group won both awards for Specialist in All Styles, their first album since their split in 1987. In winning the Best African Artists award Orchestra Baobab beat the African musicians Kassé Mady Diabaté and Tony Allen.

Discography
This list includes all the studio albums by Orchestra Baobab, with label information to identify the original issues. As usual in Africa, most cassettes were released with no label or catalog number.

 Orchestre Laye Thiam / Orchestre Saf Mounadem (1970, Ibrahim Kassé 3026)
 Orchestre du Baobab (1971, Baobab BAO 1)
 Orchestre du Baobab (1972, Baobab BAO 2)
 Orchestre Baobab '75''' (1975, Buur BRLP 001)
 Guy Gu Rey Gi (1975, Buur BRLP 002)
 Senegaal sunugaal (1975, Buur BRLP 003)
 Visage du Senegal (1975, Buur BRLP 004)
 Aduna jarul naawoo (1976, Buur BRLP 005)
 N'Deleng N'Deleng (1977, Musicafrique MSCLP 001)
 Une nuit au Jandeer (1978, Musicafrique MSCLP 002)
 Baobab à Paris Vol. 1: On verra ça (1978, Ledoux ASL 7001)
 Baobab à Paris Vol. 2: Africa 78 (1978, Ledoux ASL 7002)
 Mohamadou Bamba (1981, Jambaar JM 5000)
 Sibou odia (1981, Jambaar JM 5004)
 Vol. 1: Senegambie (1982)
 Vol. 2: Ngalam (1982)
 Ken Dou Werente (1982, MCA 307)
 Vol. 3: Coumba Ndiaye (1986)
 Mame Diarra Bousso (1986)
 Yamdoulene (1986)
 Nouvelle formation (1986, Syllart SYL 83105)
 Specialist in All Styles (2002, World Circuit WCD 064)
 Made in Dakar (2007, World Circuit WCD 078)
 Tribute to Ndiouga Dieng (2017, World Circuit WCD 092)

Compilations
 Gouygui dou daanou (1979, Discafrique DARL 001) – reissue of 1978 Paris sessions
 Hommage à Laye M'Boup (1982, Bellot 3806)
 Pirates Choice (1989, World Circuit WCD 014) – reissue of 1982 sessions
 On verra ça: The 1978 Paris Sessions (1992, World Circuit WCD 027) – reissue of 1978 Paris sessions
 Bamba (1993, Stern's STCD 3003) – reissue of 1980–81 sessions
 N'Wolof (1998, Dakar Sound 014) – reissue of 1970–71 sessions
 Roots and Fruit (1999, Popular African Music 304)
 Pirates Choice (2001, World Circuit WCD 063) – double CD edition
 A Night at Club Baobab (2006, Oriki ORK 001)
 Classics Titles (2006, Cantos)
 La Belle Époque (2009, Syllart 361)
 La Belle Époque Vol. 2'' (2011, Syllart 990)

See also
Africando

References

External links

Official Site: Orchestra Baobab
Official MySpace Page
Official Page on their label World Circuit

Photos from Orchestra Baobab & Super Rail Band; Live in Central Park, July 14, 2002.
 BBC Music: Essential Guide to World Music.
Frank Bessem, "Musiques d'Afrique: Orchestre Baobab"
 Banning Eyre, National Geographic World Music Guide, from Global Rhythm Magazine, 9 November 2006.

Senegalese musical groups
Musical groups established in 1970
World music groups
World Circuit (record label) artists
1970 establishments in Senegal
Son cubano groups

Orchestra Baobab


Si Pepe ay sumali sa Tawag ng Tanghalan noong dekada 1960s.  Siya ay nanalo at tuluyang naging host ng pamosong programa na Student Canteen.

Kapanganakan
Abril 27, 1929

Kamatayan
January 24 2013
Former TV host of Kwarta o Kahon Pepe Pimentel found unconscious in bathroom; no pulse

MANILA, Philippines - Former noontime game show host Pepe Pimentel died after he reportedly fell down in the bathroom in his house in Barangay Laging Handa, Quezon City on Thursday morning.

A radio report said that Pimentel, who hosted noontime game shows Kuwarta O Kahon and Student Canteen, was found unconscious inside the bathroom by his grandchild and wife at around 10:30 a.m.

A certain Dr. Montano, who was asked to look at Pimentel, said that the former TV host had no pulse and could have expired already. He said he could not make a declaration and as of this posting, Pimentel has yet to be brought to a hospital.
He said that they were not sure if Pimentel slipped in the bathroom or he suffered a heart attack.

Lugar ng Kapanganakan
Maynila

Pelikula

Telebisyon
Student Canteen - Channel 7
Kuarta o Kahon Channel 9, 1977-1998

Mga artista mula sa Pilipinas
Komedyante
Mga mang-aawit mula sa Pilipinas
Tawag ng Tanghalan

Pepe Pimentel


A composite or a composite index is a combination of equities or indexes intended to measure the overall market performance over time.

A composite index may also be used in the natural or social sciences to summarize complex or multidimensional data or redundant measures. An example of a composite index in the social sciences is used in the European Lifelong Learning Indicators (ELLI) project.

References

External links
Composite on Investopedia

Financial markets

Composite (finance)


The Frankfurter Rundschau is a nationwide newspaper in Germany.

Newspaper

The ''Frankfurter Rundschau is a left-wing liberal newspaper in Germany. Its position is often similar to the positions of the trade unions.
There are 6 newspapers a week.
It has a regional part for Hesse and a local part for Frankfurt am Main, too.
There are about 180,000 newapapers sold daily.
The ''Franfurter Rundschau'' is the first newspaper in Germany in the tabloid format.

History

The Frankfurter Rundschau'' was the second newspaper starting in Germany after the World War II on the 1st of August 1945.
And it was the first newspaper in the U.S. sector.
The licence was handed over to the first team of editors consisting of Emil Carlebach, Hans Etzkorn, Wilhelm Karl Gerst, Otto Grossmann, Wilhelm Knothe, Paul Rodemann and Arno Rudert.
There were social democrats, political katholics and communists, who had spent years in the resistance and nazi concentration camps or in exile.

Other websites
Frankfurter Rundschau Online (German)

Newspapers published in Germany

Frankfurter Rundschau


In computing, a cluster is made of many individual computers that work together to solve a problem at hand. Clusters can have different forms: They can be whole computers working together, or only CPUs. These CPUs can communicate over a fast network, but they share the same hard disks, for example. Depending on the problem, solving it with a cluster of cheaper components can be less expensive that investing in better hardware that costs more.

Grid computing is different in that the individual computers work on separate tasks that are part of a large problem. They are usually more different from one another and geographically further apart than cluster computers are.

Computing

Cluster (computing)


Anastasia of Greater Poland (; b. ca. 1164 – d. aft. 31 May 1240), was Duchess of Pomerania by marriage to Bogislaw I, Duke of Pomerania, and regent from 1187 until 1208 during the minority of her sons Bogislaw II and Casimir II .

Life
She was the youngest child of Mieszko III the Old, Duke of Greater Poland and since 1173 High Duke of Poland, by his second wife Eudoxia, daughter of Grand Prince Iziaslav II of Kiev.

Duchess
On 26 April 1177 Anastasia married Bogislaw I, Duke of Pomerania. This marriage reinforced the alliance between Mieszko III and his western neighbors, who started soon before with the marriage of Anastasia's older sister Salomea with Ratibor, the eldest of Bogislaw I's two sons born from his first marriage with Walburgis (who died before 18 April 1172). During her marriage, Anastasia bore her husband two other sons, Bogislaw in 1178 and Casimir around 1180.

The High Duke gained a faithful ally with this son-in-law, who was the only who supported him when he was exiled from Poland due to the rebellion of his eldest son (and Anastasia's half-brother) Odon. In 1181 Anastasia's father was able to reconquer Gniezno and Kalisz with the help of Duke Bogislaw I. They even took Poznań from Odon, who finally reconciled with his father one year later.

Regency
The deaths of Princes Ratibor (14–15 January 1183) and Wartislaw (18 February 1184), left Anastasia's sons as the only heirs of Duke Bogislaw I. On 18 March 1187 the Duke died while hunting near Sassnitz; at that time, his two surviving sons Bogislaw II and Casimir II were minors. For this, they succeeded in the Duchy as co-rulers under the regency of their mother, who was assisted in the government firstly by Wartislaw, castellan of Stettin (during 1187–1189) and later by Jaromar I, Prince of Rügen (during 1189–1198). However, the real authority over the Duchy of Pomerania was held by Anastasia until 1208, when her sons were declared adults and began their personal government.

Later life
Anastasia survived her sons: Casimir II was dead by the end of 1219 and Bogislaw II died on 24 January 1220. Four years later, on 7 July 1224, she issued a document under which she approved the foundation of a Norbertine monastery in Trzebiatów, which was richly endowed by the Dowager Duchess, giving to them a part of her widow's seat (received after his marriage): twenty castles and seven villages. After the construction of the monastery was finished, Anastasia moved there, but she never took the religious vows.

The last time Anastasia appeared in public was on 31 May 1240 her grandson Wartislaw III confirmed the foundation of the monastery. She died soon after that date and was buried in the Norbertine monastery in Trzebiatów.

References
Ożóg K., Anastazja, [in:] Piast dynasty. Biographical Lexicon, Wydawnictwo Literackie, Kraków 1999, pp. 129–130.

1160s births
1240 deaths
12th-century women rulers
13th-century women rulers
Piast dynasty
Polish princesses
12th-century Polish women
12th-century Polish people
People from Greater Poland
13th-century Polish women
13th-century Polish people
Duchesses of Pomerania

Anastasia of Greater Poland


In simulacra is a Latin phrase meaning "within likenesses." The phrase is used similarly to in vivo or ex vivo to denote the context of an experiment. In this case, the phrase denotes that the experiment is not conducted in the actual subject, but rather a model of such.

See also
List of Latin phrases

Scientific terminology

In simulacra


Grace Carpenter Hudson (1865–1937) was an American painter based in Northern California. She was nationally known during her lifetime for a numbered series of more than 684 portraits of the local Pomo natives. She painted the first, National Thorn, after her marriage in 1891. Her last work was completed in 1935.

Early life
Grace Carpenter was born on February 21, 1865, in Potter Valley, California. Her mother Helen McCowen was one of the first white school teachers educating Pomo children and was a commercial portrait photographer in Ukiah, California; her father Aurelius Ormando Carpenter was a skilled panoramic and landscape photographer who chronicled early Mendocino County frontier enterprises such as logging, shipping and railroading. Her paternal grandmother was Clarina I. H. Nichols.

At fourteen years of age, Grace was sent to attend the recently established San Francisco School of Design, an art school that emphasized painting from nature rather than from memory or by copying existing works. At sixteen, she executed an award-winning, full-length, life-sized self-portrait in crayon. While in San Francisco, she met and eloped with William Davis, a man fifteen years her senior. This action upset her parents and ending her formal studies. The marriage lasted only a year.

From 1885 to 1890, Grace Carpenter Davis lived with her parents in Ukiah painting, teaching and rendering illustrations for magazines such as Cosmopolitan and Overland Monthly. Her work at that time had no particular focus and included genre, landscapes, portraits and still lifes in all media. Later in her career she would continue to accept occasional magazine illustration assignments, including ones for Sunset.

Marriage to John Hudson
In 1890, Grace married John Wilz Napier Hudson, M.D. (1857–1936). He had come to California from Nashville, Tennessee, in 1889 to serve as physician for the San Francisco and North Pacific Railroad. The newlyweds shared a keen interest in preserving and recording Native American culture.

Professional success

Grace Carpenter Hudson painted National Thorn in 1891; it was selected to be shown at the Minneapolis Art Association exhibit, where it proved very popular. Her painting Little Mendocino (another Pomo infant portrait) was exhibited in the California State Building at the 1893 Chicago World's Fair. The painting received much attention and earned an honorable mention. In 1894, Little Mendocino was hung at the Midwinter Fair in San Francisco, resulting in Hudson gaining further commissions for works in a similar vein.

By 1895, Grace Hudson's growing success as a popular artist was bringing in more than enough money for the couple to live in modest comfort. Her husband John gave up his medical practice in order to study the Pomo people and follow his deep interests in archeology and ethnography. His collection of California Indian baskets and other Native American artifacts is held among the Smithsonian Institution, the Field Museum of Natural History in Chicago, the Brooklyn Museum, and the Grace Hudson Museum in Ukiah. The latter's research collection is based on John Hudson's manuscripts and correspondence.

An 1895 San Francisco Call piece on Grace Hudson was reprinted in the November 5, 1895, issue of The New York Times, entitled "Very Hard to Get Papooses to Pose." In it, she details her method of photographing or painting Pomo infants without their mother's knowledge by means of deceit. Hudson said that because of the indigenous belief that being sketched or photographed would result in a negative outcome, she had to use elaborate ruses to make private portraits of the infants.

From this time forward, Hudson meticulously photographed and documented each of her works; she was concerned that numerous counterfeit copies were being produced. Her notes were intended to establish her copyright. Each of her works is numbered in sequence. She often used the camera as the initial basis for her oil portraits, as it allowed the human subject to be captured quickly. She took pains to conceal this practical convenience from the art world, as it was considered an inferior method at the time.

In 1900-1901, Grace Hudson had become exhausted from supplying the demand for her popular paintings; she took a solo vacation in the Territory of Hawaii, to relax and refresh herself. While there, she completed 26 paintings of island scenes and ethnic Japanese, Chinese and Hawaiian people. While she was away, John Hudson became the Pacific Coast ethnologist for the Field Columbian Museum. He documented Northern California native activities, and made an extensive study of aboriginal fish trapping methods.

Returning to the mainland, Grace rejoined her husband and resumed work supplying sentimental Pomo portraits to eager buyers. She accompanied John on much of his field work. In 1902, she painted a portrait of a Pawnee boy; her husband had been documenting the Pawnee on assignment for the Field Columbian Museum.

In 1904, Grace Hudson accepted a commission from the Field Columbian Museum to go to the Oklahoma Territory for an extended period and paint additional images of the Pawnee. This people had suffered high mortality after epidemics of European diseases and disruption of their society. There she made portraits primarily of chiefs and elders, preserved in photographic negatives and canvas. While the Hudsons were still in Oklahoma, some of their collected artifacts and Hudson's paintings were destroyed in San Francisco's calamitous fire following the 1906 earthquake.

Grace Hudson Museum and Sun House

Returning to Ukiah, California, Grace and John Hudson lived according to a modest bohemian lifestyle of collecting, traveling, field work, reading, entertaining, photography, and painting. In 1911 their The Sun House in Ukiah was completed. They had designed this Craftsman-style redwood California bungalow. The Hudsons adopted the Hopi sun symbol as their family symbol; the emblem is prominently displayed over the front door of the house. John Hudson died there in 1936. Grace Hudson died there on March 24, 1937.

Grace Hudson left The Sun House and its land to her nephew, Mark Carpenter. Carpenter preserved the house and its 30,000 collected objects for posterity, giving it to the City of Ukiah. It operates the house and the adjoining Grace Hudson Museum. Today, the Sun House is California Historical Landmark #926, and is listed in the National Register of Historic Places. The Sun House and Museum are within the 0.8 acre Hudson-Carpenter city park. The museum's website says of Grace Hudson that "...her work enjoys renewed interest and recognition for its fine and sympathetic portrayals of native peoples."

References

Further reading
 Baird, Joseph Armstrong Jr., Grace Carpenter Hudson (1865-1937): Oil Paintings and Sketches including Works on Loan from C. Frederick Faude, California Historical Society, San Francisco, 1962
 Holmes, Karen and Sherrie Smith-Ferri, Days of Grace: California Artist Grace Hudson in Hawaii, Grace Hudson Museum, Ukiah, California, 1914
 Hough, Katherine Plake, The Pomo, gifts and visions: Paintings of Pomo Indians by Grace Carpenter Hudson (1865-1937), Palm Springs Desert Museum, 1983
 Lanson, Lucienne and Patricia Tetzlaff, Grace Hudson: Artist of the Pomo Indians: A Biography, Donning Company Publishers, 2006
 Searles R. Boynton D.D.S., The painter lady: Grace Carpenter Hudson, Interface California Corp., Eureka, CA, 1978
 Tetzlaff, Patricia, Grace Hudson: Artist of the Pomo Indians (Fine Art Coloring Book),

External links

 Grace Hudson Museum - official site
 Grace Carpenter Hudson/Maynard Dixon correspondence and memorabilia, 1907-1931. California State Library, California History Room.

1865 births
1937 deaths
American women painters
American photographers
San Francisco Art Institute alumni
People from Ukiah, California
Painters from California
19th-century American painters
20th-century American painters
People from Potter Valley, California
19th-century American women photographers
19th-century American photographers
20th-century American women photographers
20th-century American photographers

Grace Hudson


South Ormsby, sometimes called South Ormesby, is a village in the East Lindsey district of Lincolnshire, England. It is situated  west from the A16 road,  south from Louth and 7 miles north-east from Horncastle. With the nearby hamlet of Ketsby, it forms the civil parish of South Ormesby with Ketsby. The population is included in the civil parish of Brinkhill.

The 15th-century church of St Leonard's is approached by a short climb up a path next to the old school house.

Ormsby Hall, built by James Paine in 1752, stands in a wooded parkland complete with lake.

The village has a public house, the Massingberd Arms, and a motor repair garage.

The Greenwich Prime Meridian line passes through the village.

External links

 East Lindsey District Council website

Villages in Lincolnshire
East Lindsey District

South Ormsby


Giorgio Zancanaro (born 9 May 1939) is an Italian baritone, particularly associated with the Italian repertory, especially Verdi.

He studied in his native Verona with Maria Palanda, and was revealed at the Verdi Competition in Busseto in 1969. He made his official operatic debut the following year in Mantua, as Riccardo in I puritani. Quickly invited to sing at all the major opera houses of Italy, establishing himself as the eminent "Verdi baritone" of his generation, notably in I masnadieri, Luisa Miller, La traviata. He made his debut at La Scala in 1982, as Ford in Falstaff, and took part in important revivals of Attila and I vespri siciliani, under Riccardo Muti.

On the international scene, he appeared in London, Paris, Zurich, Vienna, Barcelona, Lisbon, Caracas, etc. He also sang at the festivals of Orange, in 1982, as Posa in Don Carlo, and Bregenz, in 1985, as Riccardo in I puritani, opposite Edita Gruberova and Salvatore Fisichella.

He made his debut at the Metropolitan Opera, in 1982, as Renato in Un ballo in maschera, considered one of his best roles. He also appeared at the San Francisco Opera and the Dallas Opera.

Zancanaro sang almost every major baritone role of the Italian repertory, but remained incomparable in Verdi roles, in which, his beautiful and evenly produced voice, brilliant upper register, and stylish singing, are shown to best effect. Unfortunately he was largely ignored by the recording companies. All the same, he can be heard and/or seen in the following official recordings:

Il cappello di paglia di Firenze with Ugo Benelli, Alfredo Mariotti, Viorica Cortez, Daniela Mazzucato RCA 1975
Il trovatore (video) with Raina Kabaivanska, Franco Bonisolli, Viorica Cortez, dir. Bruno Bartoletti Eurodisc 1975
Il trovatore with Raina Kabaivanska, Franco Bonisolli, Viorica Cortez, dir. Bruno Bartoletti Acanta / Arts Music 1975
Il trovatore with Plácido Domingo, Rosalind Plowright, Brigitte Fassbaender, Evgeny Nesterenko, dir. Carlo Maria Giulini DG 1983
Don Carlo (DVD) with Luis Lima, Ileana Cotrubas, Robert Lloyd, Bruna Baglioni, dir. Bernard Haitink Castle Vision 1985
Andrea Chenier with Plácido Domingo, Anna Tomowa-Sintow, dir. Humphrey Burton, Covent Garden 1985
Andrea Chenier with José Carreras, Eva Marton, dir. Giuseppe Patanè CBS 1985
La forza del destino with Mirella Freni, Plácido Domingo, Paul Plishka, Sesto Bruscantini, dir. Riccardo Muti EMI 1986
Madama Butterfly (DVD) with Yasuko Hayashi, Peter Dvorsky, dir. Keita Asart Pioneer Artist 1986
Guglielmo Tell with Chris Merritt, Cheryl Studer, Luigi Roni, dir. Riccardo Muti Philips 1988
Rigoletto with Daniela Dessì, Vincenzo La Scola, Paata Burchuladze, dir. Riccardo Muti EMI 1988
I vespri siciliani with Chris Merritt, Cheryl Studer, Ferruccio Furlanetto, dir. Riccardo Muti EMI 1989
Attila with Samuel Ramey, Cheryl Studer, Neil Shicoff, dir. Riccardo Muti EMI 1990
Attila (DVD) with Samuel Ramey, Cheryl Studer, Kaludi Kaludov, dir. Riccardo Muti Fonit-Cetra 1991
La traviata (DVD) with Edita Gruberova, Neil Shicoff, dir. Carlo Rizzi Teldec 1992
Tosca with Carol Vaness, Giuseppe Giacomini, dir. Riccardo Muti Philips 1992
Falstaff with Walter Berry, Francisco Araiza, dir. Lorin Maazel Orfeo 2009 (1983 live performance)

General sources
 Le guide de l'opéra, les indispensables de la musique, R. Mancini & J-J. Rouveroux, (Fayard, 1995),

External links

1939 births
Living people
Musicians from Verona
Italian operatic baritones
20th-century Italian male opera singers

Giorgio Zancanaro


David Arthur Allen (29 October 1935 – 25 May 2014) was an English cricketer. He played first-class cricket for Gloucestershire between 1953 and 1972. He also played 39 Test matches for England. He was born in Horfield, Bristol, England. An accurate offspinner, David Allen had trouble maintaining a steady place in the England teams of the 1960s, with competition from Titmus, Mortimore, and Illingworth. He bowled off no more than four or five paces, with a deceptively casual action. He could be unplayable on helpful wickets, but he mastered the art of bowling tightly on good wickets as well. He was first picked for England in 1959, but was unable to play through injury. When he did play, his 39 Tests included tours to all the current Test-playing nations. A useful bat, with a first class hundred to his credit, he thrived on adversity, memorably so when playing out Hall's final over of the 1963 Lord's test. He took 882 wickets for Gloucestershire in a career that spanned 19 years.

References

1935 births
2014 deaths
English cricketers
Sportspeople from Bristol

David Allen (cricketer)


Ewha Girls' High School was the first school for girls in Korea, and was called Ewha Hackdang at first. It is located in Jeong-dong, Jungu, Seoul, Korea. It was founded by Mary Scranton who came to Korea as a Christian missionary in 1885. This school opened in 1886 as a mission school, and the name "Ewha"  was granted by Gojong, the 26th king of the Joseon dynasty. It literally means pear blossoms, but the internal meaning is "Be white, clear, innocent like pear blossoms". Ewha Girls' High School is one of the first private schools that are allowed to have autonomy, since 2010.

Great women in history from Ewha

Yu Kwan Soon
The most famous person who has graduated from this high school is Yu Kwan Soon. She was one of the leaders of a great independence movement called the "3.1 movement" while she was in school. At that time, Korea was under the domination of Japan, and the school had to close. Even though she was a young girl student, she resisted with great courage, and died in prison. Later, people praised her bravery, and she got the Order of Merit for National Foundation for effort on independence in 1962, and the Honor Ewha Girls' High School diploma in 1996.

Lee Hui Ho
The wife of Kim Dae Jung, the 15th president of Korea. She was the manager of Young Women's Christian Association of Korea. She was also the director of Korean National Council of Women.

Facilities
They have the eight-story main hall, EWHA 100th Memorial Hall, and library building which was donated from Jeon In Hang. There are also a gymnasium, which is one of the largest in Korea, several tennis courts, and a huge play ground. A simson hall, the oldest building at Ewha Girls' High School, is registered as culture remains.
The open-air theater, Yu Kwan soon memorial building, and Ewha church are famous. The 3.1 independence movement commemorative events are held in this memorial building annually.

References
http://www.ewha.hs.kr
http://100.naver.com/100.nhn?docid=121748
http://www.ewhamirror.com
http://ewhamirror.blogspot.com/

High schools
Schools in South Korea

Ewha Girls' High School


Robert Thurston ("Bob") Dart (3 September 1921 – 6 March 1971), was an English musicologist, conductor and keyboard player. Along with Nigel Fortune, Oliver Neighbour and Stanley Sadie he was one of Britain's leading musicologists of the post-World War II generation. From 1964 until his death he was King Edward Professor of Music at the University of London, based at King's College London.

Early life
Dart was born on 3 September 1921 in Surbiton, then part of Surrey. His father, Henry Thurston Dart, married his mother, Elisabeth Martha (née Orf) in 1915. Dart attended Hampton Grammar School and he sang in the choir at Hampton Court.

Dart studied keyboard instruments at the Royal College of Music in London from 1938 to 1939, and then studied mathematics at University College, Exeter, being awarded his degree in 1942. He served as a Junior Scientific Officer and then as a statistician and researcher for the RAF Strategic Bombing Planning Unit under Air Vice Marshall Basil Embry from 1942 to 1945. Dart was injured in a plane crash in Calais in November 1944, and while convalescing from his injuries at a nursing home in Swanley, he first met Neville Marriner. After leaving the services, he studied for a year with Belgian musicologist , returning to England in 1946 as research assistant to Henry Moule, a music lecturer at Cambridge University.

Musical career
In 1947 he was appointed assistant lecturer in music in the University of Cambridge, subsequently lecturer (1952) and professor (1962). During this time, Dart was the most effective British supporter of the modern early music revival, in part through his influence on those who ultimately formed such groups as the Early Music Consort of London. In 1964 he was appointed King Edward Professor of Music at the University of London, based at King's College London.

As a continuo player, Dart made numerous appearances on the harpsichord and made many harpsichord, clavichord and organ recordings, especially for the L'Oiseau-Lyre label; he was also a conductor. He served as editor of the Galpin Society Journal from 1947 to 1954 and secretary of Musica Britannica from 1950 to 1965.

During the 1950s he participated in annual concerts featuring four harpsichordists, the three others being George Malcolm, Denis Vaughan and Eileen Joyce. In 1957 this group also recorded Bach's Concerto for Four Harpsichords, an arrangement after Vivaldi, with the Pro Arte Orchestra under Boris Ord.  They also recorded Malcolm's Variations on a Theme of Mozart.

Dart's distinguished students included the composer Michael Nyman, harpsichordist Davitt Moroney, conductor Sir John Eliot Gardiner and conductor/musicologist Christopher Hogwood. He made one of the first historically informed recordings of the Brandenburg Concertos with the Philomusica of London. He later worked with Neville Marriner on a recording of the Brandenburg Concertos and the four Orchestral Suites, although Dart died from stomach cancer on 6 March 1971 before recording was complete.

Works
Dart's book, The Interpretation of Music (London, 1954), was highly influential and is still widely read. He also wrote numerous seminal articles on aspects of musical sources, performance and interpretation.

Legacy
Source Materials and the Interpretation of Music: A Memorial Volume to Thurston Dart was published in 1981, edited by Ian Bent.

In 1996 or 1997 the Thurston Dart Professorship of Music was established at King's College London.

Notes

Further reading
Bent, Ian, ed. (1981). Source materials and the interpretation of music: a memorial volume to Thurston Dart. London: Stainer & Bell. .

External links

 Thurston Dart on Bach Cantatas Website

1921 births
1971 deaths
British harpsichordists
Bach conductors
Academics of King's College London
Alumni of the Royal College of Music
British performers of early music
Members of the University of Cambridge Faculty of Music
20th-century conductors (music)
20th-century British musicians
20th-century British musicologists
Royal Air Force personnel of World War II
Royal Air Force officers
Deaths from stomach cancer
Deaths from cancer in England
Professors of Music (Cambridge)

Thurston Dart


Michael Bartley Peters (born October 9, 1943), better known as Mike Peters, is an American Pulitzer Prize-winning editorial cartoonist and the creator of the  comic strip Mother Goose and Grimm.

Early life
He was born in St. Louis, Missouri, where his mother, Charlotte Peters, was a local television personality with one of the earliest TV talk shows, interviewing film stars and politicians as early as 1949. Accompanying his mother to the studio, he would meet such celebrities as Bob Hope and Martin and Lewis. The show influenced Peters' own life:
My mom did more than a talk show. If you go to YouTube and put in Charlotte Peters, you can see an hour of her show. She sang, she danced, she entertained 250 audience members every day. It was a variety show, but also a talk show... My sister and I were like celebrities in town because of our mom. And during freshman year of high school, I would have girls who I didn't even know call me and ask me to come with them to their junior or senior prom. If you're a freshman or a sophomore, you never go to the prom, but these girls who were juniors and seniors would invite me to their prom. And of course, I would say yes. And I would go and rent a tuxedo, and I would go to their house and meet the mother and father of these girls. Then they would take me in their car, and while they were driving us to the prom, the mother would say, "Mike, did you know that Gloria plays the violin?" And I would say, "Really?" and she would say, "Yes, would you like to hear her play some time?" And I'd say, "Sure," and she would pull a violin out from under the seat of the car and hand it to Gloria and Gloria would then proceed to play the violin for me all the way to the prom. And it happened again with a girl who played oboe. The mother pulled out the oboe and that girl, too, would play music for me all the way to the prom. And I was getting used to it. I would just sit there and enjoy the music... Not until I was 30-years-old did I realize that they were auditioning for my mom's show. And I thought any girl, while being driven to the prom, would play music for you. And so, when I invited the first girl to come to the prom with me, and she didn't play a musical instrument, I thought I was being dissed. I thought, "What is this? Aren't you supposed to be playing music for me?"

Growing up in St. Louis, Peters attended Christian Brothers College High School and Washington University, where he studied fine art, became a Sigma Chi member and graduated in 1965. He drew cartoons for the college paper, Student Life, from 1962 to 1965. Peters recalled, "I knew when I was five years old that I wanted to be a cartoonist. As I grew older, I thought it was the only thing I could do."

He met his wife, Marian, while attending Washington University, and they moved to Chicago, where he worked for a year on the art staff of the Chicago Daily News. Drafted into the army, he spent two years of service as an artist for the Seventh Psychological Operations Group in Okinawa.

Career

Editorial cartoons
On his return from his army service, his mentor Bill Mauldin helped him get a job as editorial cartoonist for the Dayton Daily News in Dayton, Ohio. As a joke, he once stood on the building ledge outside the Daily News building for 30 minutes wearing a Superman costume so that he could make an entrance to a meeting through the window in the manner of actor George Reeves entering Perry White's office on The Adventures of Superman.

When his animated editorial cartoons Peters Postscripts began on NBC Nightly News in 1981, it was the first time animated editorial cartoons appeared regularly on a prime-time network news program. Peters also hosted the 14-part interview series The World of Cartooning with Mike Peters for PBS. In 1998, Peters created a show segment for Fox Kids called Night of the Living Fred, it appeared on Fox Kids's Horror-comedy show,  Toonsylvania.

In regard to politics, Peters's editorial stances are generally left of center.

Comic strip
In 1984, he launched Mother Goose and Grimm, distributed by King Features Syndicate. The strip is published in 500 newspapers, and according to King Features, it has a daily readership of 100 million. Peters' editorial cartoons and his comic strip are both distributed through King Features' DailyINK email service.

Personal life
Mike and Marian Peters have three daughters and six grandchildren.

Exhibitions
Beginning February 24, 2012, his strips and editorial cartoons were exhibited by the Key West Art and Historical Society at the Custom House in Key West, Florida. "This exhibit is a self-portrait of the artist," said Claudia Pennington, the Society's executive director. "It looks into the genius of Mike Peters through his early work to the present day."

Awards
In 1981, Peters won the Pulitzer Prize for editorial cartooning. He has received recognition for Mother Goose and Grimm with the National Cartoonists Society's 1991 Reuben Award and a nomination for their Newspaper Comic Strip Award in 2000.

He has a star on the St. Louis Walk of Fame.

References

External links
Official site

Student Life: 1962–65 college cartoons

1943 births
American comic strip cartoonists
American editorial cartoonists
Dayton Daily News
Inkpot Award winners
Living people
Artists from Dayton, Ohio
Artists from St. Louis
Pulitzer Prize for Editorial Cartooning winners
Reuben Award winners
Sam Fox School of Design & Visual Arts alumni
Washington University in St. Louis alumni

Mike Peters (cartoonist)


Trichy Sankaran (born 27 July 1942) is an Indian percussionist, composer, scholar, and educator. He was awarded the Madras Music Academy's Sangeetha Kalanidhi in 2011. As a mridangam vidwan, he has been called a "doyen among the percussionists of India" in Sruti magazine. Since the early 1970s, he has performed and recorded in a number of cross-cultural projects. In 2017, he was awarded the "Tiruchirapalli Carnatic Musicians Lifetime Achievement Award".

Sankaran has lived in Toronto since 1971. He is the founder of the Tyagaraja Aradhana in Toronto and is a professor of music at York University. He has regularly performed at all leading organisations in Chennai every December Music Season and continues to accompany a wide array of top ranked musicians.

Early life
Born on 27 July 1942 in Thiruchirapalli, Tamil Nadu, India, Sankaran had his early musical training first under his cousin, P. A. Venkataraman, and later became the star disciple of the legendary mridangam maestro, Pazhani Subramania Pillai. He made his debut at the age of 13 in a concert given by the Alathoor Brothers at Nanrudayan Temple in the town of Thiruchirapalli. For Radha Viswanathan's wedding (daughter of MS Subbulakshmi), Semmangudi presented a concert for which Palani Subramania Pillai requested double mridangam and Trichy Shankaran was the second player at the age of 15.

Since then he has performed with many significant Carnatic musicians, including Ariyakudi Ramanuja Iyengar and T. R. Mahalingam. He won the All India Radio gold medal in 1955 and the President of India award in 1958.

Teaching
Sankaran is the co-founder (in conjunction with vocalist Jon B. Higgins) of the Indian Music Program and a Professor of Music at York University in Toronto, Ontario, Canada, where he has been teaching since 1971. In addition, he has also conducted workshops and seminars at Wesleyan University, the Berklee College of Music, the University of Michigan, the California Institute of the Arts, the University of Illinois, McMaster University, Cornell University, and Dalhousie University. He has made valuable contributions at many scholarly conferences across North America and has also published a number of his works in the leading journals of the continent. He has also written a textbook on the mridangam, which defines the basic techniques and principles of Carnatic percussion, entitled The Rhythmic Principles & Practice of South Indian Drumming. In addition, in 2010 he authored a comprehensive textbook which focuses on the subject of solkattu (the spoken rhythms of South India) titled The Art of Konnakkol.
Trichy Sankaran is also an avid world class clinician, and has performed workshops and clinics internationally. He has collaborated with top ranking drummers and percussionists, such as Steve Smith, Peter Erskine, and Giovanni Hidalgo, among others.

Sankaran is also the founder and artistic director of Kalalayam, an institution dedicated in cultivating the nuances and techniques of the Pudukkottai style of percussive embellishment. He has successfully trained many South Asian and North American students on the mridangam, kanjira, ghatam, tabla, and other Western percussion instruments. He was the pioneer in starting the Thyagaraja Festival in Toronto which has flourished into an annual event hosting a series of concerts featuring top ranked musicians from India, identifying and promoting talented youth in North America and endowing scholarships to students pursuing a career in music.

International tours
Sankaran has performed far and wide at major festivals in India, Southeast Asia, Europe, the Middle East, Australia, and North America. With over half a century of concert experience in Carnatic music, he has accompanied over five generations of musicians.

Awards

As a performing artist of international repute, Sankaran has received numerous honours and awards. The titles include:
Sangeetha Kalanidhi (Madras Music Academy, India)
Sangeet Nataka Academy Award from the Government of India
Tala Kalai Arasu (Bharati Kala Manram, Toronto)
Laya Sikhamani (Bhairavi, Cleveland)
Nadha Laya Brahmam (Bharathi Vidya Bhavan, Trichy)
Tala Vadya Prakasa  (CMANA, New York)
Sangeetha Choodamani ( Sri Krishna Gana Sabha, Chennai)(1984)
Viswa Kala Bharathi (Bharat Kalachar, Chennai)
Mridanga Kala Shironmani (Percussive Arts Centre, Bangalore)
Asthana Vidwan (Kanchi Kamakoti Peetam, Kanchipuram)
OCUFA teaching award (Ontario Confederation of University Faculty Association, Canada)

He was also nominated as the Professional of the Year by the executive committee of the Indo-Canadian Chamber of Commerce in Toronto. He has received the prestigious Palghat Mani Iyer Award from the Percussive Arts Centre, Bangalore, the Chowdiah Memorial Award from the Karnataka State, and Sri Pazhani Subramania Pillai Award from the Chief Minister of Tamil Nadu. In 1998 he received an honorary Doctor of Music degree from the University of Victoria, in British Columbia, Canada, for his achievements in the academic and professional fields. He has also held honourable positions at The Glenn Gould Foundation and Canada Council.

Work with ensembles
In addition to his usual traditional settings, he has performed with gamelan, jazz, electronic, and African music ensembles, and World Drums in fusion concerts. He has performed in jugalbandhi concerts with Ustad Vilayat Khan, V. G. Jog, Zakir Hussain, Hariprasad Chaurasia, Shanta Prasad, and Swapan Chaudhuri, to name a few. As a composer, Sankaran has to his credit numerous pieces in the genres of gamelan, jazz, traditional Western classical orchestra, and various instrumental ensembles respectively.

Sankaran has also worked in the fields of jazz, electronic music, and free improvisation with the composers David Rosenboom, Richard Teitelbaum, Charlie Haden, Pauline Oliveros, Paul Plimley, Rajesh Mehta the Jazz Orchestra of York University, Anthony Braxton, Dave Brubeck, Glen Velez, Nexus, and World Drums.

In 1996, Sankaran was commissioned by leading Canadian Bharatanatyam dancer Lata Pada, C.M., to compose a contemporary work entitled 'TimeScape', for her dance company, Sampradaya Dance Creations.

Personal life
Sankaran lives in North York, Toronto, Ontario, Canada. He is married and has two daughters.  His 2nd daughter, Suba Sankaran, is a vocalist and pianist with whom he and wind specialist Ernie Tollar perform as Trichy's Trio.

Discography

Released in North America

Instrumental ensemble/fusion
1975 – Suitable for framing – with David Rosenboom and J. B. Floyd (ARC Records)
1993 – Whirled – with Oliver Schroer (Big Dog Music)
1996 – Oliver Schroer and the Stewed Tomatoes – with Oliver Schroer (Big Dog Music)
1998 – Ivory Ganesh Meets Doctor Drums – with Paul Plimley (Songlines)
1999 – Catch 21: Trichy's Trio – with Suba Sankaran and Ernie Tollar (Deep Down Productions)
1999 – Innovative Music Meeting – with Rajesh Mehta and Rohan De Saram (True Muze Records)
2004 – Maza Mezé: Secrets Moon Magic – with John Wyre and Suba Sankaran (CBC)
2021 - "Speaking Hands"- with Curtis Andrews [The Offering of Curtis Andrews] (independent)

Traditional Carnatic
1990 – Laya Vinyas – Mrdangam Solo (Music of the World)
1993 – Sunada – with Karaikudi Subramaniam (Music of the World)
1997 – Lotus Signatures – with Dr. N. Ramani (Music of the World)
2001 – The Carnatic Violin – with Prof. T. N. Krishnan (Kriyative World Music)

Released in India
2001 – Kutcheri: Live at Kalakshetra – with Sanjay Subramanyan (Charsur Digital)
2002 – Mukhari – with Chitraveena Ravikiran (Rajalakshmi Audio)
2005 – Gajaleela – Mridangam and Kanjira Solo (Charsur Digital)
2007 – Kutcheri: Live in Chennai – with Lalgudi G. J. R. Krishnan and Lalgudi Vijaylakshmi (Charsur Digital)**
2007 – Live at Music Academy Madras – with Malladi Brothers (Rajalakshmi Audio)**

** – Forthcoming

Books
1977 – The Art of drumming: South Indian Mridangam. Toronto: Private Edition
1994 – The Rhythmic Principles & Practice of South Indian Drumming. Toronto: Lalith Publishers
2003 – Frame Drums of South India: A Handbook on Solkattu (Rhythm Solfege). Toronto: Lalith Publishers.
2010 – " The Art Of Konnakkol (Solkattu)". Toronto: Lalith Publishers.

DVD
2011 - "RhythmWise: The Art of the Korvai" (with Ken Shorley). Wolfville, NS.

External links
Trichy Sankaran official site
Trichy Sankaran site
Trichy Sankaran faculty page from York University site
Trichy Sankaran interview
Trichy Sankaran listing in The Canadian Encyclopedia

1942 births
Living people
Ghatam players
Kanjira players
Canadian drummers
Canadian male drummers
Mridangam players
Tamil musicians
Musicians from Tiruchirappalli
Indian emigrants to Canada
Academic staff of York University
Canadian Hindus
Canadian people of Tamil descent
Canadian people of Indian descent
Recipients of the Sangeet Natak Akademi Award

Trichy Sankaran


Furnace is a 2007 horror film written and directed by William Butler.  It stars Danny Trejo, Michael Paré, Tom Sizemore, Ja Rule, and Paul Wall.

Plot

A group of prisoners are assigned to assist in the re-opening of an old prison's closed wing.  They find that the furnace room in the wing is the location of a murder, and the victim's spirit seeks death of those who enter the room.

Cast
 Michael Paré as Detective Michael Turner
 Ja Rule as Terrence Dufresne
 Jenny McShane as Dr. Ashley Carter
 Danny Trejo as Fury
 Tom Sizemore as Frank Miller
 Kelly Stables as Karen Bolding
 Paul Wall as Joey Robbins

Production
The original script for Furnace was written by Anghus Houvouras, and the project was brought up to director William Butler, who thought that the story was reminiscent of the 1988 film Prison.  Butler signed to direct, and he and his writing partner Aaron Strongoni collaborated to polish the script to meet Melee Entertainment's budgetary concerns.  The rewriting lasted six months and changed the story substantially.  Butler said of the change, "This of course was no reflection on Anghus, but instead the team of people at Melee that sort of took the film in another direction."

Release

The film was released on DVD by Melee Studio on February 12, 2008.

Reception

Critical reception for the film has been mostly negative.

Dread Central awarded the film a score of 2.5 / 5 stating "All in all, Furnace is just another blah horror entry to clutter the direct-to-DVD market. As if the floating head cover weren't enough on its own to dissuade you from picking it up believe me, this furnace is just blowing smoke".
David Johnson from DVD Verdict gave the film a negative review criticizing the film's first half as being too slow and stated that the film would likely disappoint horror fans.

References

External links

2007 direct-to-video films
2007 horror films
2000s ghost films
2000s supernatural horror films
American supernatural horror films
Direct-to-video horror films
2007 films
Films set in prison
2000s English-language films
Films directed by William Butler (actor)
2000s American films

Furnace (film)


Ramón Pérez de Ayala y Fernández del Portal (9 August 1880, in Oviedo – 5 August 1962, in Madrid) was a Spanish writer. He was the Spanish ambassador to England in London (1931-1936) and voluntarily exiled himself to  Argentina via France because of the Spanish Civil War (1936-1939).
He was nominated for the Nobel Prize in Literature.

Background

Pérez de Ayala was educated at Jesuit schools, the experience of which he satirized in the novel A.M.D.G. (1910). The novelist Leopoldo Alas was among his professors, and Alas's "intellectual novel," focused on ideas and philosophy, would influence Pérez de Ayala's own fiction. There is some debate regarding to which generation of Spanish writers Pérez de Ayala belongs. His early realistic novels reveal ties with the Generation of 98. However,  some argue that Ramon Pérez de Ayala was a member of the Generation of 1914, a group which did not entirely fit with either the Generation of 98 or the Generation of 27. Like his political ally José Ortega y Gasset, he was a liberal republican and opposed to the Spanish monarchy, as well as a professed Anglophile who sought to import the English parliamentary system to Spain.

He was elected to the Royal Spanish Academy in 1928, and received nominations for the Nobel Prize in Literature in 1931, 1934 and 1947. He was appointed director of the Prado Museum in 1931 a position that he left temporarily in 1932 to become the Spanish ambassador to Britain. Perez de Ayala received an honorary doctorate from the University of Oxford in 1936. He was succeeded as director of the Prado Museum by Pablo Picasso in 1936.

After 1916, his novels became increasingly mature and lyrical, his characters becoming symbolic representatives of general human problems. To this period belongs his masterpieces, Belarmino y Apolonio (1921) (translated as "Belarmino and Apolonio"), Tiger Juan (1926) and El curandero de su honra (The Healer of his Honour) (1927).

La paz del sendero (The Peace of the Path) (1903), El sendero innumerable (1916), and El sendero andante (1921), his major poetic works, show the influence of French symbolism. He also wrote satiric essays and dramatic criticism.

Works available in English
Belarmino and Apolonio (1990) Quartet Books.
Honeymoon, Bittermoon (1974) University of California Press.
Sunday Light. In:
 Tiger Juan translator Walter Starkie, J. Cape, 1933,

References

External links

1880 births
1962 deaths
People from Oviedo
Members of the Congress of Deputies of the Second Spanish Republic
Politicians from Asturias
Spanish male writers
Modernist writers
Writers from Asturias
Members of the Royal Spanish Academy
Directors of the Museo del Prado
Exiles of the Spanish Civil War in Argentina
Colegio de la Inmaculada (Gijón) alumni
University of Oviedo alumni
Spanish diplomats
Exiles of the Spanish Civil War in France
Exiled Spanish politicians

Ramón Pérez de Ayala


The Orly Airport attack was the 15 July 1983 bombing of a Turkish Airlines check-in counter at Orly Airport in Paris, by the Armenian militant organization ASALA as part of its campaign for the recognition of and reparations for the Armenian genocide. The explosion killed eight people and injured 55.

Attack

The bomb exploded inside a suitcase at the Turkish Airlines check-in desk in the airport's south terminal, sending flames through the crowd of passengers checking in for a flight to Istanbul. The bomb consisted of a half kilogram of Semtex plastic explosives connected to three portable gas bottles (which caused the extensive burns on the victims).

Three people were killed immediately in the blast and another five died in hospital. Four of the victims were French, two were Turkish, one was Greek-American, and one was Swedish. The death toll made the Orly bombing the bloodiest attack in France since the end of the Algerian War in 1962. The dead included one child. The dual national was identified as Anthony Peter Schultze, who was studying in Paris and came to the airport to see off his Turkish fiancée. She was out of the check-in area when the bomb exploded, and was uninjured.

ASALA claimed responsibility for the attack.

French Prime Minister Pierre Mauroy came to the airport and condemned the attack, promising to find and punish the perpetrators. Later he visited the hospital where the most seriously injured were being treated. French President François Mitterrand visited some of the hospitalized victims and condemned the attack, calling it a "crime for crime's sake".

The Orly bombing came five days before the second Armenian World Congress was due to open at Lausanne. According to Markar Melkonian, brother of ASALA member Monte Melkonian, the real reason for the bombing was to discredit the Armenian World Congress, since ASALA leader Hagop Hagopian felt it would benefit a rival Armenian group in France.

Investigation
Shortly after the Orly blast, the French police arrested 51 suspected ASALA militants. According to the police, all the arrested came to France within one year and had been under surveillance by intelligence forces. The police confiscated weapons and explosives, including pistols and submachine guns. ASALA threatened with military attacks on the French interests around the world if "the French regime continues its method of terror and terrorism against the Armenian people". A few days after the French arrest of fifty-one Armenians in connection with the Orly bombing, ASALA bombed the Air France office and the French Embassy in Tehran, and threatened more attacks.

French police detained 29-year-old Varoujan Garabedian (Varadjian Garbidjian), a Syrian national of Armenian extraction, who confessed to planting the bomb at the airport. Garabedian claimed he was the head of the French branch of ASALA. At the airport, Garabedian said he had too much luggage and gave a passenger $65 to check the bag for him. The bomb was intended to explode aboard a Turkish Airways plane en route from Paris to Istanbul, but it detonated prematurely on a baggage ramp.

Garabedian confessed that the bomb was assembled at the home of an Armenian of Turkish nationality, Ohannes Semerci, in Villiers-le-Bel. In Marseilles, police later arrested another Turkish citizen of Armenian extraction, 22 years old Nayir Soner, an electronics specialist who was suspected of assembling the bomb.

French press alleged that the French government had struck a secret deal with ASALA in January 1982, in which there would be no further attacks on French soil in return for French recognition that the Turks had attempted genocide against the Armenians in 1915. Under the terms of the deal ASALA members supposedly were also granted unrestricted use of French airports, and four ASALA members charged with the takeover of the Turkish consulate in Paris, in which a security guard was killed, were given light sentences (seven years in jail). Garabedian told French investigators that the violation of the secret pact by ASALA was an accident, and that the suitcase bomb was supposed to detonate on board the Turkish airliner, not on French soil. But the Orly airport attack forced the French government to crack down on ASALA.

Trial
During an 11-day jury trial in suburban Créteil, Garabedian, defended by Jacques Vergès, denied his earlier confession. He was found guilty and on 3 March 1985 and was given a life sentence. Nayir Soner, accused of buying bottles of gas used to make the bomb, was given a 15-year sentence, and Ohannes Semerci, in whose apartment ammunition and dynamite were found, received a 10-year sentence. The victims were defended by Gide Loyrette Nouel: principal Jean Loyrette argued for denial of the Armenian genocide; his collaborators Gilles de Poix and Christian de Thezillat argued on the attack itself, to demonstrate the guilt of the three defendants. Several Turkish scholars – Sina Aksin, Türkkaya Ataöv, Avedis Simon Hacinlyian, Hasan Köni, Mümtaz Soysal – testified for the prosecution during the trial.

In 1995, over 1 million people in Armenia signed a petition to the authorities in France calling for the release of Garabedian from prison.

In 2001, after 17 years in jail, Garabedian was released on condition he was deported to Armenia. He was greeted by Prime Minister of Armenia Andranik Margaryan, who expressed happiness at Garabedian's release.

In an interview in 2008, Garabedian explained the Orly bombing was a protest against the hanging execution of Levon Ekmekjian in Istanbul in 1982, and he planned to destroy a Turkish Airlines plane, which was to transport high-ranking representatives of the Turkish secret services, as well as Turkish generals and diplomats. Garabedian claims that as a result of the attack 10 Turks were killed and 60 were injured.

See also
 Bombing of French consulate in West Berlin
 Terrorism in Europe

References

Bibliography
 Terrorist Attack at Orly: Statements and Evidence Presented at the Trial, 19 February – 2 March 1985, Ankara, Faculty of Political Science, 1985.
 Francis P. Hyland, Armenian Terrorism: The Past, the Present, the Prospects, Boulder-San Francisco-Oxford: Westview Press, 1991.

External links
Attentat ORLY on INA

Explosions in 1983
1983 crimes in France
1983 in Paris
Armenian Secret Army for the Liberation of Armenia
Orly
Crime in Île-de-France
Improvised explosive device bombings in France
July 1983 events in Europe
Mass murder in 1983
Terrorist attacks attributed to Armenian militant groups
Orly
Terrorist incidents in Paris
Terrorist incidents in France in 1983
Building bombings in France
1983 disasters in Europe

1983 Orly Airport attack


Valeria Maximilla () was the Empress of the Romans and wife of Emperor Maxentius.

Life
She was the daughter of Emperor Galerius and his first wife, whose name is unknown. She married Maxentius around 293 (the exact date is unknown) in what was likely an attempt to forge an alliance between the families of Galerius and Maxentius' father Maximian, himself Emperor in the West. She bore two sons: the eldest, Valerius Romulus, was born c. 295; the other son's name is not recorded, but might be Aurelius Valerius, was executed in 312. As an emperor's daughter, she was entitled .

Her husband was acclaimed emperor in October 306 against the wishes of Valeria Maximilla's father, who tried to overthrow the usurper in 307 but without success. Maxentius remained the ruler of Rome, Italy and Africa until 312, when Constantine I invaded Italy. Valeria and her husband were together before the Battle of the Milvian Bridge, when she disappears from the historical record. Her fate is unknown. Their son, Romulus, died in 309.

Valeria Maximilla's portrait does not appear on any of the coinage issued under Maxentius, but she may have been depicted on a defaced sculpture now housed in the Capitoline Museums. If it is of Maximilla, it was likely defaced after her husband's overthrow, when his own images were also defaced.

In St. Catherine's hagiography
Maximilla may be the nameless queen who appears in the hagiography  of St. Catherine of Alexandria by Jacobus de Voragine (one of the fantastic stories in the "Golden Legend"). In this story, the queen converted to Christianity after meeting with Catherine, and the both of them were then tortured and executed by Maxentius, depicted here as a persecutor of Christians.

In another similar version by 15th-century Italian hagiographer Petrus de Natalibus, the queen was named "Faustina". She was accompanied to Catherine's jail by Porphyrius, an army captain. Along with Faustina, the captain and 200 of his soldiers also converted, and they were all supposedly martyred by Maxentius. In Eastern Orthodox churches, Faustina, Porphyrius (called a stratelates) and the soldiers share a feast day with Catherine: November 24 for the Russian Orthodox Church, and Nov. 25 for the Greek Orthodox Church.

See also
 List of Roman women
 List of Roman empresses

References

3rd-century Roman women
4th-century Roman empresses
3rd-century births
4th-century deaths
Valerii
Maxentius
Nobilissimi
Daughters of Roman emperors

Valeria Maximilla


Saint Thomas Church in Strasbourg is a Protestant church today. It is very important for Strasbourg, from a cultural and historic perspective. Strasbourg Cathedral had to be given to the Catholics when the French occupied Strasbourg in 1681. Since then, this church is the main Protestant church in the region.

The veneration of St. Thomas at this particular spot was already present in the 6th century. A church and a school were built there in the 9th century. They burned down because lightning struck them in 1007 and again in 1144. A very large church built like a fortress to resist fires better was started in the year of 1196. Building works were interrupted several times, until they finished with building side-chapels in Gothic style. In 1524 the church became Lutheran. Today, it is in charge of several schools. There is also a seminary (A special school for priests) in the baroque building next to it.

There are 5 naves in the church. It is the oldest such church in southwest Germany, and the only "hall church" in Alsace. The church is also known for its organs. One of them was built by Johann Andreas Silbermann in 1741. The family Silbermann (father and sons) were the most important German organ-builders of the 18th century. Wolfgang Amadeus Mozart played on this organ several times during the three weeks he spent in Strasbourg in 1778 and wrote in a letter to his father Leopold Mozart about it. The other organ (built for the choir) was designed by Albert Schweitzer and built in 1906.

There is a gothic fresco of Saint Michael in the church. This is the largest of its kind in France after that of St. Christopher in Wissembourg, which is ten meters high.

There are also many notable tombs and tombstones in the church, the oldest is a romanesque masterwork from the 11th century, and the largest a baroque monument to field-marchal Maurice of Saxony that fills up the entire rear wall of the choir. Maurice could not be buried in Paris because he was Protestant, and since he was German by birth, Strasbourg was a fitting place.

The Saint Thomas church also houses medieval stained glass in its windows, although Protestants destroyed parts of it in the early years of the Reformation.

Gallery

Gothic architecture
Buildings and structures in Strasbourg
1521 establishments
16th-century establishments in France

St Thomas' Church, Strasbourg


Leonhard Nagenrauft (March 9, 1938 in Bischofswiesen – May 22, 2017 in Berchtesgaden) was a West German luger who competed in the late 1960s and early 1970s. He won the silver medal in the men's singles event at the 1971 FIL World Luge Championships in Olang, Italy.

Nagenrauft also won two medals in the men's singles event at the FIL European Luge Championships with a gold in 1967 and a bronze in 1972.

Nagenrauft also competed in two Winter Olympics, earning his best finish of fifth in the men's singles event at Sapporo in 1972.

Nagenrauft died on May 22, 2017 at the age of 79.

References

Other websites
Hickok sports information on World champions in luge and skeleton.
List of European luge champions
Sports-reference.com profile
Wallechinsky, David. (1984). "Luge - Men's singles". The Complete Book of the Olympics: 1896-1980. New York: Penguin Books. p. 575.

1938 births
2017 deaths
German Olympians
Sportspeople from Bavaria
Lugers

Leonhard Nagenrauft