Anacardiaceae
Cashew
Scientific classification
Kingdom:	Plantae
(unranked):	Angiosperms
(unranked):	Eudicots
(unranked):	Rosids
Order:	Sapindales
Family:	Anacardiaceae (R.Br.) Lindl. (1831)
Type genus
Anacardium
Genera
See text.

Lannea grandis in Banten, Indonesia

Anacardiaceae (the cashew or sumac family) are a family of flowering plants bearing fruits that are drupes and in some cases producing urushiol, an irritant. Anacardiaceae include numerous genera with several of economic importance. Notable plants in this family include cashew (in the type genus Anacardium), mango, poison ivy, sumac, smoke tree, and marula. The genus Pistacia (which includes the pistachio and mastic tree) usually is now included, but has sometimes been placed in its own family, Pistaciaceae.^[1]

Selected genera[link]

Description[link]

Trees or shrubs each with inconspicuous flowers, highly poisonous, sometimes foul smelling resinous or milky sap.^[2] Resin-canals located in the inner fibrous bark of plants fibrovascular system found in the stems, roots and leaves is characteristic of all members of this family; resin-canals located in the pith is a characteristic of many of the cashew family species and several species have them located in the primary cortex or the regular bark. Tannin sacs are also widespread among the family.^[3]

The wood of Anacardiaceae has the frequent occurrence of simple small holes in the vessels, occasionally in some species side by side with scalariform holes (in Campnosperma, Micronychia and Anaphrenium argenteum). The simple pits are located along the vessel wall and in contact with the parenchyma.(see Vessel element) ^[3]

Leaves are alternate or rarely opposite^[4] and without stipule.^[2]

Flowers grow at the end of a branch or stem or at an angle from where the leaf joins the stem and have bracts.^[2] Often with this family bisexual and male flowers on some plants, and bisexual and female flowers on others or flowers having both stamens and pistils (perfect). Calyx with 3 to 7 cleft sepals and the same number of petals, occasionally no petals, overlapping each other in the bud. Stamens twice as many or equal to the number of petals, inserted at the base of the^[4] fleshy ring or cup-shaped disk, and inserted below the pistil(s).^[2] stamen stalks separate, anthers able to move.^[4] Flowers have the ovary free, but the petals and stamen are borne on the calyx.^[2] In the stamenate flowers, ovaries are 1-celled. In the pistillate flowers, ovaries are 1-celled or sometimes 4-5-celled. 1-3 styles and 1 ovule in each cavity.^[4]

Fruits rarely opening at maturity^[2] and are most often drupes.^[4]

Seed coats are very thin or are crust like. Little or no endosperm. Fleshy cotyledons.^[4] Solitary seeds with no albumen around the embryo.^[2]

Taxonomy[link]

In 1759, Bernard de Jussieu arranged the plants in the royal garden of the Trianon at Versailles, according to his own scheme. That classification included a description of an order called Terebintaceæ which contained a suborder that included Cassuvium (Anacardium), Anacardium (Semecarpus), Mangifera, Connarus, Rhus and Rourea. In 1789, Antoine Laurent de Jussieu, nephew of Bernard de Jussieu, published that classification scheme.^[5]

Robert Brown described a subset of Terebintaceae called Cassuvlæ or Anacardeæ in 1818, using the herbarium that was collected by Christen Smith during a fated expedition headed by James Kingston Tuckey to explore the River Congo. The name and genera were based on the order with the same name that had been described by Bernard de Jussieu in 1759. The herbarium from that expedition contained only one genus from the family, Rhus.^[6]

Augustin Pyramus de Candolle in 1824, used Robert Browns name Cassuvlæ or Anacardeæ, wrote another description of the group and filled it with the genera Anacardium, Semecarpus, Holigarna, Mangifera, Buchanania, Pistacia, Astronium, Comocladia and Picramnia.^[7]

John Lindley described the "Essential character" of Anacardiaceæ, the "Cashew Tribe" in 1831, adopting the order that was described by Jussieu but abandoning the name Terebintaceæ. He includes the genera which were found in de Candolle's Anacardieæ and Sumachineæ: Anacardium, Holigarna, Mangifera, Rhus and Mauria.^[2]

The genus Pistacia has sometimes been separated into its own family, Pistaciaceae, based on the reduced flower structure, differences in pollen, and the feathery style of the flowers.^[1] However, the nature of the ovary does suggest it belongs in the Anacardiaceae, a position which is supported by morphological and molecular studies, and recent classifications have included Pistacia in the Anacardiaceae.^[1][8][9]

Taxonomy references

Ecology[link]

The cashew family is more abundant in warm or tropical regions with only a few species living in the temperate zones.^[4] Mostly native to tropical Americas, Africa and India. Pistacias and some species of Rhus can be found in southern Europe, Rhus species can be found in much of North America and Schinus inhabit South America exclusively.^[2]

Uses[link]

Members of this family produce cashew and pistacia nuts and others produce mango and marula fruits.^[2]

Some members produce a viscous or adhesive fluid which turns black and is used as a varnish or for tanning and even as a mordant for red dyes.^[2]

Medicinally the edible nuts from this family have a reputation for being good for the brain.^[2]

Notes[link]

Wikimedia Commons has media related to: Anacardiaceae

References[link]

External links[link]

Media related to Anacardiaceae at Wikimedia Commons Data related to Anacardiaceae at Wikispecies

• Tree of Life: Anacardiaceae
• Anacardiaceae in Topwalks
• Anacardiaceae in L. Watson and M.J. Dallwitz (1992 onwards). The families of flowering plants.
• Family Anacardiaceae - Flowers in Israel
• Anacardiaceae of Chile, by Chileflora

Francesco Maria Veracini.

Francesco Maria Veracini (1 February 1690 – 31 October 1768) was an Italian composer and violinist, perhaps best known for his sets of violin sonatas.

Life[link]

Francesco Maria Veracini led a turbulent life. Born in Florence, the son of a pharmacist and undertaker, he was taught the violin by his uncle, Antonio Veracini, with whom he often appeared in concert. Veracini wrote a concerto grosso for eight instruments which was performed in 1711 at the coronation festivities for the Emperor Charles VI.

There is a legend that, when Giuseppe Tartini heard Veracini playing the violin in 1712, he was so impressed by his bowing technique, and so dissatisfied with his own skill, that he retreated the next day to Ancona "in order to study the use of the bow in more tranquility, and with more convenience than at Venice, as he had a place assigned him in the opera orchestra of that city". (Burney 1789, 3:564–65)

In 1714, Veracini went to London and played instrumental pieces ("symphonies" in contemporary parlance) between the acts of operas at the Queen's Theatre. After a season at the court in Düsseldorf and once again in Venice in 1716, he wrote a set of violin/recorder sonatas dedicated to Prince Friedrich August (who in 1733 would become Augustus III of Poland and Augustus II Elector of Saxony). The Prince was in Venice recruiting musicians on behalf of his father Augustus II the Strong/Augustus I for the Saxon Court in Dresden.

At the Prince's urging, Augustus the Strong employed Veracini to play chamber music at his court, later transferring him to the official Dresden payroll as violinist in August 1717. Veracini was sent to recruit Italian singers for the Dresden opera. In 1721 Veracini wrote another set of violin sonatas dedicated to the Prince (published as his Opus 1).

Unfortunately, there was animosity among the musicians at the court in Dresden. In 1722, Veracini was involved in a quarrel, staged according to one source by the composer and violinist Pisendel, which resulted in Veracini leaping out of an upper-story window.^{[citation needed]} He walked with a limp for the rest of his life.

Back in his native Florence in 1723, Veracini played music in a church and wrote an oratorio. During this time he earned a bad reputation and was said by Charles Burney to have been "usually qualified with the title of Capo pazzo" ["head lunatic"]. (Burney 1789, 3:568)

Back in London in 1733, Veracini appeared in many concerts. There he wrote an opera, Adriano in Siria, considered too long by the music critics.^{[citation needed]} In 1737, he wrote La Clemenza di Tito, on a libretto by Corri based on one by Pietro Metastasio. (The Metastasio libretto was also the basis of the one Mazzola wrote for Mozart's La Clemenza di Tito). In 1738 Veracini wrote his third opera, Partenio, and in 1744 his last opera, Roselinda, based on Shakespeare's play As You Like It, a most unusual choice of material at that time. In that opera Veracini included the well-known Scots ballad tune The Lass of Paties Mill. It was staged in London in 1744, the same year his oratorio (described as an opera in Burney 1789, 4:451) L'errore di Salomone was staged, and its lack of success (Burney, 4:451, scorned the music as "wild, awkward, and unpleasant; manifestly produced by a man unaccustomed to write for the voice", but confessed that "This opera, to my great astonishment when I examined the Music, ran twelve nights", whereas L'errore di Salomone was given only twice) prompted Veracini to leave London a little more than a year later.^{[citation needed]}

After surviving a shipwreck in the English Channel, he again returned to Florence, where he was appointed maestro di capella of the churches of San Pancrazio and San Gaetano, the latter one at which his uncle had worked, focusing on church music. Though he mostly conducted in his later years, he still sometimes appeared as a violinist. He died in Florence.

Compositions[link]

In addition to violin sonatas, operas and oratorios, Veracini also wrote violin concertos, sonatas for recorder and basso continuo, and orchestral suites, called Overtures. The six Overtures were performed for Prince Friedrich August in Venice in 1716, as part of Veracini's ultimately successful attempt to secure a position at the Dresden court. They are all either in F major or B-flat major, except for one in G minor. The last one of these, in B-flat major, is remarkable for concluding with a unison minuet. Veracini also wrote a "lively, highly original theory treatise" (Newman 1972, 184), Il trionfo della pratica musicale, and edited other composers' works, adding "improvements" of his own, such as he did in his Dissertazioni with the Opus 5 Violin Sonatas of Arcangelo Corelli.

Major works[link]

• 12 Sonatas for recorder or violin solo and basso (no opus number, dedicated to Prince Friedrich August, before 1716)
• Opus 1, 12 Sonatas for violin solo and basso (dedicated to Prince Friedrich August, 1721)
• Opus 2, 12 Sonate Accademiche for violin solo and basso (1744)
• Dissertazioni del Sigr. Francesco Veracini sopra l'opera quinta del Corelli [Dissertation by Mr. Francesco Veracini on Corelli's Opus 5] (date of composition uncertain, unpublished until 1961)
• Opus 3, Il trionfo della pratica musicale, osia Il maestro dell’arte scientifica dal quale imparsi non solo il contrapunto ma (quel che più importa) insegna ancore con nuovo e facile metodo l’ordine vero di comporre in musica (music-theory treatise, 1760)

Discography[link]

• The Art of Bel Canto. Richard Tucker, tenor; John Wustman, piano and harpsichord. LP. Columbia ML 6067 Also issued in stereo, MS 6667 [U.S.]: Columbia, 1965. [Includes Veracini: "Meco verrai su quella" (Pastorale) from 'Rosalinda']
• The Art of Joseph Szigeti, vol. 1. Joseph Szigeti, violin; Kurt Ruhrseitz, piano (Recorded 1926–1933). 2 CDs (mono). London, England: Biddulph Recordings, 1989. LAB 005, LAB 006. [Includes Veracini: Largo, from an unidentified sonata.]
• An Arthur Grumiaux Recital. Arthur Grumiaux, violin; Riccardo Castagnone, piano. LP (mono). Epic LC 3414 [United States]: Epic Records, 1957. [Includes Veracini: Sonata in A major, op. 1, no.7.]
• Baroque Masters of Venice, Naples and Tuscany. Soloists of the Società cameristica di Lugano. LP. "A Cycnus recording, Paris." [New York]: Nonesuch Records, 1966. HC 3008. [Includes an unidentified work by Veracini]
• Concerti "per l'orchestra di Dresda". Musica Antiqua Köln; Reinhard Goebel, dir. CD. Archiv Produktion 447 644-2. Hamburg: Deutsche Grammophon, 1993. [Includes Veracini: Ouverture No. 5 in B-flat major.]
• Flute Solos. James J Pellerite, flute; Wallace Hornibrook, piano. Coronet LPS 1505 (LP). Columbus, Ohio: Coronet, [1960s]. [Includes Veracini: Sonata no. 1 (1716).]
• French and Italian Flute Music. Barthold Kuijken, flute; Wieland Kuijken, viola da gamba; Robert Kohnen, harpsichord. 2 CDs. Accent ACC 30009. Heidelberg: Accent, 2007. [Sonatas,; violin, continuo,; op. 1, no. 6, arranged for flute and continuo]
• Furiosi. I Furiosi (Gabrielle McLaughlin, soprano; Aisslinn Nosky, Julia Wedman, violin; Felix Deak, violoncello, viola da gamba); with James Johnstone, harpsichord; Stephanie Martin, organ; Lucas Harris, theorbo and guitar. CD. Dorian DSL-90802. Winchester, VA: Dorian, 2007. [Includes Veracini: Passagallo, first movement from Sonata, op. 2, no. 12 in D minor.]
• Italian Baroque Songs. Dénes Gulyás, tenor; Dániel Benkö, lute, guitar, orpharion; László Czidra, recorder; Tibor Alpár, organ; Budapest Baroque Trio; Bakfark Consort. CD. Hungaroton HCD 31480. [Hungary]: Hungaroton, 1992. [Includes Veracini: Sonata for violin, continuo, op. 1; No. 3.]
• Italian Baroque Violin Concerti. Carroll Glenn, violin; Austrian Tonkuenstler Orchestra, Vienna; Lee Schaenen, conductor. LP. Musical Heritage Society MHS 652 New York: Musical Heritage Society, 1966. [Includes Veracini: Concerto for Violin and Orchestra in D major]
• The Italian Connection: Vivaldi, Corelli, Geminiani, Lonati, Veracini, Matteis. Bell'arte Antiqua (Lucy van Dael, Jacqueline Ross, violins ; William Hunt, viola da gamba; Terence Charlston, harpsichord). CD. London: ASV, 2000. CD GAU 199. [Includes Veracini: Sonata in A, op. 2, no. 9]
• Italian Music for Strings of the Baroque Period. Cambridge Society for Early Music; Erwin Bodky, director; Ruth Posselt, Richard Burgin, violins. LP (mono). Kapp KCL 9024 [Includes Veracini: Sonata op. 1, no. 3.]
• An Italian Sojourn. Trio Settecento. CD. Chicago: Cedille, 2006. [Includes Veracini: Sonata in D minor, op. 2, no. 12.]
• Italian Violin Sonatas. Europa Galante (Fabio Biondi, violin and direction; Maurizio Naddeo, violoncello ; Giangiacomo Pinardi, theorbo, baroque guitar, cittern; Sergio Ciomei, harpsichord, organ, gracivembalo, clavichord). Virgin Veritas 5 45588 2 (CD). [England]: Virgin, 2002. [Includes Veracini: Sonata in G minor, op. 1 no. 1]
• Italienische Blockflötenmusik des 17. und 18. Jahrhunderts. Eckhardt Haupt, recorder; Achim Beyer, violin; Christine Schornsheim, harpsichord; Siegfried Pank, tenor viola da gamba. CD. Capriccio 10 234. Königsdorf: Delta Music GmbH, 1988. [Includes Veracini: Sonata no. 6 in A minor (1716)]
• Blockflötenwerke von 10 italienischen Meistern. Frans Brüggen, recorder; Anner Bylsma, violoncello; Gustav Leonhardt, harpsichord and organ. 3LPs. Telefunken Das Alte Werk 6.35073. Hamburg: Telefunken, 1968–74. Reissued on CD as Italian Recorder Sonatas. Teldec 4509-93669-2. Hamburg: Teldec, 1995. [Includes Veracini: Sonata no. 2 (1716) in G major; Sonata no. 6 (1716) in A minor]
• Masters of the Italian Baroque. Steven Staryk, violin. Kenneth Gilbert, harpsichord. LP. Baroque BUS 2874. Baroque Records, [1967]. [Includes Veracini: Sonata in E minor.]
• Maurice André Plays Trumpet Concertos. Maurice André, trumpet; Pierre Pierlot, oboe; Orchestre de chambre Jean-François Paillard, Jean François Paillard, cond. (LP) New York, N.Y.: Musical Heritage Society, 1969. [Includes Veracini: Sonata in E minor for violin and continuo, op. 2, no. 8, arranged as a trumpet concerto by Jean Thilde]
• Six Italian Sonatas. Michel Piguet, baroque oboe and recorder; Walther Stiftner, baroque bassoon; Martha Gmünder, harpsichord. Musical Heritage Society MHS 1864 (LP). New York: Musical Heritage Society, 1974. [Includes Veracini: Sonata prima in F major for recorder and harpsichord.] Title from container./ "Recorded by Erato."
• Tetrazzini. Luisa Tetrazzini, soprano; with unidentified orchestras. Recorded between 1909 and 1914, digitally re-recorded from the original 78 rpm discs. CD. Wyastone Leys, Monmouth: Nimbus Records, 1990. [Includes Veracini: "Meco sulla verrai" (Pastorale), from Rosalinda.]
• Veracini, Francesco Maria. 5 ouvertures / Ouvertüren / Overtures. Musica Antiqua Köln; Reinhard Goebel, dir. CD. Archiv Produktion 439 937-2. Hamburg: Deutsche Grammophon, 1994. [Ouvertures No. 1 B-flat major; No. 2 in F major; No. 3 in B-flat major; No. 4 in F major; No. 6 in B-flat major.]
• Veracini, Francesco Maria: Complete Overtures and Concertos, vol. 1. Accademia i Filarmonici; Alberto Martini, conductor. CD. Naxos 8.553412. Munich: Naxos, 1995.
• Veracini, Francesco Maria: Complete Overtures and Concertos, vol. 2 Accademia i Filarmonici; Alberto Martini, conductor. CD. Naxos 8.553413. [Hong Kong]: Naxos, 1999. [Concerto a otto stromenti in D major for violin and orchestra; Overture no. 5 in B-flat major; Concerto a cinque in A major for violin, strings, and continuo; Concerto a cinque in D major for violin strings, and continuo; Aria schiavona in B-flat major for orchestra.]
• Veracini, Francesco Maria. The Complete Sonatas, op. 1. Hyman Bress, violin; Jean Schrick, viola da Gamba; Oliver Alain, harpsichord. 3 LPs. Lyrichord and LLST 7141 (set); LLST 7138, LLST 7139, LLST 7140. Lyrichord;. New York: Lyrichord Records, 1965.
• Veracini, Francesco Maria. Nine Sonatas for Violin and Basso Continuo. Piero Toso, violin; Gianni Chiampan, violoncello; Edoardo Farina, harpsichord. 2 LPs. Erato 71197. Reissued on Musical Heritage Society MHS 4293, MHS 4294. Tinton Falls, N.J.: Musical Heritage Society, 1978. [Includes Sonatas in G minor, op. 1, no. 1; A major, op. 1, no. 2; B minor, op. 1, no. 3; E minor, op. 1, no. 6; A major, op. 1, no. 7; B-flat major, op. 1, no. 8; D major, op. 1, no. 10; E major, op. 1, no. 11; F major, op. 1, no. 12.] "Licensed from."
• Veracini, Francesco Maria. Six Sonatas for Flute and Harpsichord. Giorgio Bernabò, flute; Alan Curtis, harpsichord. CD. Dynamic CDS 114. Genoa: Dynamic Srl, 1994. [Sonatas no. 1, 3, 4, 5, 11, and 12 (1716).]
• Veracini, Francesco Maria. Sonatas. John Holloway, violin; Jaap ter Linden, cello; Lars Ulrik Mortensen, harpsichord. CD. ECM New Series Munich: ECM Records, 2003. [Sonata no. 1 from Sonate a violino solo e basso, op. 1; Sonata no. 5 from Sonate a violino, o flauto solo, e basso (1716); Sonata no. 1 from Dissertazioni—sopra l'opera quinta del Corelli, Sonata no. 6 from Sonate accademiche, op. 2]
• Veracini, Francesco Maria. Sonate accademiche. Fabio Biondi, violin; Maurizio Naddeo, violoncello; Rinaldo Alessandrini, harpsichord; Pascal Monteilhet, theorbo. CD. Paris, France: Opus 111, 1995. OPS 30-138. [Includes Veracini: Sonatas op. 2, nos. 7, 8, 9, and 12]
• Veracini, Francesco Maria: Sonate accademiche. The Locatelli Trio (Elizabeth Wallfisch, violin; Richard Tunnicliffe, violoncello; Paul Nicholson, harpsichord & organ). 3 CDs. Hyperion CDA 66871/3. London: Hyperion Records Ltd., 1995. Reissued 2007, Hyperion CDS44241/3.
• The Virtuose Italienische Blockflötenmusik. Michael Schneider, recorder; Michael McCraw, bassoon; Gerhart Darmstadt, cello; Bradford Tracey, harpsichord. CD. FSM Adagio FCD 91 634 Münster: Fono Schallplattengesellschaft mbH, 1990. [Includes Veracini: Sonata no. 4 in B-flat major (1716).]
• The Virtuoso Harmonica. Adalberto Borioli, harmonica; Mirna Miglioranzi-Borioli, harpsichord. LP. Everest SDBR 3172. Los Angeles, Calif.: Everest, 1967. [Includes Veracini: Sonata in F major]
• The Virtuoso Recorder. Frans Brüggen, recorder; Janny van Wering, harpsichord. LP. Decca DL 710049. New York: Decca, 1962. [Includes Veracini: Sonata in G major (1716)]
• The Virtuoso Violinist. David Nadien, violin; Boris Barere, piano. LP. Kapp KCL 9060. [U.S.]: Kapp Records, 1961 [Includes Veracini: Largo, from Sonate accademiche, no. 6.]

References[link]

• Burney, Charles. 1789. A General History of Music, from the Earliest Ages to the Present Period. To Which Is Prefixed, a Dissertation on the Music of the Ancients. Second edition. 4 vols. London: Printed for the author and sold by T. Becket, J. Robson, and G. Robinson.
• Charlton, David. 1996. "Francesco Maria Veracini"
• Hill, John Walter. 1979. The Life and Works of Francesco Maria Veracini. Studies in Musicology 3. Ann Arbor, Mich.: UMI Research Press.
• Hill, John Walter. 2001. "Veracini, Francesco Maria." The New Grove Dictionary of Music and Musicians, ed. S. Sadie and J. Tyrrell. London: Macmillan.
• Newman, William S. 1972. The Sonata in the Baroque Era. 3d edition. New York: W. W. Norton & Co., Inc.
• Torchi, Luigi. 1901. La musica istrumentale in Italia nei secoli XVI, XVII e XVIII, con 272 esempi musicali nel testo. Turin: Fratelli Bocca. Facsimile reprint, Bologna: Forni Editore, 1969.

External links[link]

• Free scores by Francesco Maria Veracini at the International Music Score Library Project
• Veracini, Sonate per violino e basso op. I e op. II

Orlando Gibbons

Orlando Gibbons (baptised 25 December 1583 – 5 June 1625) was an English composer, virginalist and organist of the late Tudor and early Jacobean periods. He was a leading composer in the England of his day.

Biography[link]

Gibbons was born in Cambridge and christened at Oxford the same year – thus appearing in Oxford church records.

Between 1596 and 1598 he sang in the Choir of King's College, Cambridge, where his brother Edward Gibbons (1568–1650), eldest of the four sons of William Gibbons, was master of the choristers. The second brother Ellis Gibbons (1573–1603) was also a promising composer, but died young. Orlando entered the university in 1598 and achieved the degree of Bachelor of Music in 1606.^[1] James I appointed him a Gentleman of the Chapel Royal, where he served as an organist from at least 1615 until his death. In 1623 he became senior organist at the Chapel Royal, with Thomas Tomkins as junior organist. He also held positions as keyboard player in the privy chamber of the court of Prince Charles (later King Charles I), and organist at Westminster Abbey. He died at age 41 in Canterbury of apoplexy, and a monument to him was built in Canterbury Cathedral. A suspicion immediately arose that Gibbons had died of the plague, which was rife in England that year. Two physicians who had been present at his death were ordered to make a report, and performed an autopsy, the account of which survives in The National Archives:

We whose names are here underwritten: having been called to give our counsels to Mr. Orlando Gibbons; in the time of his late and sudden sickness, which we found in the beginning lethargical, or a profound sleep; out of which, we could never recover him, neither by inward nor outward medicines, & then instantly he fell in most strong, & sharp convulsions; which did wring his mouth up to his ears, & his eyes were distorted, as though they would have been thrust out of his head & then suddenly he lost both speech, sight and hearing, & so grew apoplectical & lost the whole motion of every part of his body, & so died. Then here upon (his death being so sudden) rumours were cast out that he did die of the plague, whereupon we . . . caused his body to be searched by certain women that were sworn to deliver the truth, who did affirm that they never saw a fairer corpse. Yet notwithstanding we to give full satisfaction to all did cause the skull to be opened in our presence & we carefully viewed the body, which we found also to be very clean without any show or spot of any contagious matter. In the brain we found the whole & sole cause of his sickness namely a great admirable blackness & syderation in the outside of the brain. Within the brain (being opened) there did issue out abundance of water intermixed with blood & this we affirm to be the only cause of his sudden death.^[2]

His death was a shock to peers and the suddenness of his passing drew comment more for the haste of his burial – and of its location at Canterbury rather than the body being returned to London. His wife, Elizabeth, died a little over a year later, aged in her mid-30s, leaving Orlando's eldest brother, Edward, to care for the children left orphans by this event. Of these children only the eldest son, Christopher Gibbons, went on to become a musician.

Music[link]

One of the most versatile English composers of his time, Gibbons wrote a quantity of keyboard works, around thirty fantasias for viols, a number of madrigals (the best-known being "The Silver Swan"), and many popular verse anthems. His choral music is distinguished by his complete mastery of counterpoint, combined with his wonderful gift for melody. Perhaps his most well 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 at points, and the work at once expresses the rhetorical force of the text, whilst never being demonstrative or bombastic. He also produced two major settings of Evensong, the Short Service and the Second Service. The former includes a beautifully expressive Nunc dimittis, while the latter is 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 for eight voices.

He contributed six pieces to the first printed collection of keyboard music in England, Parthenia (to which he was by far the youngest of the three contributors), published in about 1611. Gibbons's surviving keyboard output comprises some 45 pieces. The polyphonic fantasia and dance forms are the best represented genres. Gibbons's writing exhibits full mastery of three- and four-part counterpoint. Most of the fantasias are complex, multisectional pieces, treating multiple subjects imitatively. Gibbons's approach to melody in both fantasias and dances features a capability for almost limitless development of simple musical ideas, on display in works such as Pavane in D minor and Lord Salisbury's Pavan and Galliard.^[3]

Legacy[link]

In the 20th century, the Canadian pianist Glenn Gould championed Gibbons's music, and named him as his favorite composer.^[4] 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."^[5] In one interview, Gould compared Gibbons to Beethoven and Webern:

...despite the requisite quota of scales and shakes in such half-hearted virtuoso vehicles as the Salisbury Galliard, one is never quite able to counter the impression of music of supreme beauty that lacks its ideal means of reproduction. Like Beethoven in his last quartets, or Webern at almost any time, Gibbons is an artist of such intractable commitment that, in the keyboard field, at least, his works work better in one's memory, or on paper, than they ever can through the intercession of a sounding-board.^[6]

To this day, Gibbons's obit service is commemorated every year in King's College Chapel, Cambridge.

	Out of the Deep Recorded live in Borja, Spain by The Tudor Consort in October 2005
Problems listening to this file? See media help.

References[link]

External links[link]

Wikimedia Commons has media related to: Orlando Gibbons

• Free scores by Orlando Gibbons in the Werner Icking Music Archive (WIMA)
• Grove Music Online John Harper: 'Gibbons, Orlando', ed. L. Macy (Accessed January 4, 2007)
• Free scores by Orlando Gibbons in the Choral Public Domain Library (ChoralWiki)
• Free scores by Orlando Gibbons at the International Music Score Library Project
• Free scores at the Mutopia Project

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Portrait of Turlough Carolan, from R.B. Armstrong "The Irish and Highland Harps", Edinburgh, David Douglas, 1904.

Turlough O'Carolan, also known as Turlough Carolan,^[1] (Irish: Toirdhealbhach Ó Cearbhalláin; Irish pronunciation: [ˈt̪ˠɾˠeːl̪ˠəx oː ˈcaruːl̪ˠaːnʲ]) (1670 – 25 March 1738) was a blind early Irish harper, composer and singer whose great fame is due to his gift for melodic composition. He was the last great Irish harper-composer and is considered by many to be Ireland's national composer. Harpers in the old Irish tradition were still living as late as 1792, as ten, including Arthur O'Neill, Patrick Quin and Donnchadh Ó Hámsaigh, showed up at the Belfast Harp Festival, but there is no proof of any of these being composers. Ó Hámsaigh did play some of Carolan's music but disliked it for being too modern. Some of O'Carolan's own compositions show influence from the style of continental classical music, whereas others such as Carolan's Farewell to Music reflect a much older style of "Gaelic Harping".

Biography[link]

O'Carolan was born in 1670 near Nobber, County Meath, but in 1684 he moved with his family, to Ballyfarnon, County Roscommon, where his father took a job with the MacDermottRoe family of Alderford House. Mrs. MacDermottRoe gave him an education, and he showed talent in poetry. After being blinded by smallpox, at the age of eighteen, O'Carolan was apprenticed by Mrs MacDermott Roe to a good harper. At the age of twenty-one, being given a horse and a guide, he set out to travel Ireland and compose songs for patrons. For almost fifty years, O'Carolan journeyed from one end of the country to the other, composing and performing his tunes.

In 1720, O'Carolan married Mary Maguire. He was then 50 years of age. Their first family home was a cottage on a parcel of land near the town of Mohill in Co Leitrim, where they settled. They had seven children, six daughters and a son. In 1733 Mary died.

O'Carolan is buried in the McDermottroe family crypt in Kilronan Burial Ground near Ballyfarnon, County Roscommon. The annual O'Carolan Harp Festival and Summer School commemorates his life and work in Keadue, County Roscommon.

A bronze monument by sculptor Oisin Kelly depicting Turlough O'Carolan playing his harp, was erected on a plinth at the Market Square, Mohill, on 10 August 1986, and was unveiled by Patrick Hillery, President of Ireland.

Music and style[link]

O'Carolan composed both songs and instrumental harp music. Except for one song with an English text, all of his songs are in Irish. Most of his songs were dedicated to and about specific individuals. Many songs do not survive whole; what lyrics survive have only been published in part. His lyrics are rarely learned, whereas many of his tunes are widely performed and appreciated.

O'Carolan's musical style shows a mix of traditional and classical elements. He typically composed the tune first—as he rode from place to place—then added words later. Many of the tunes attributed to O'Carolan are older traditional melodies that he improved or lengthened. He wrote many "planxties" (tributes) in honor of some person. It is said that weddings and funerals were often delayed until he could arrive to perform.

Publication[link]

His music was first published in Neale's A Collection of the Most Celebrated Irish Tunes ... in Dublin, c.1726. At least 220 tunes which survive to this day are attributed to him, though most were not published or even written down in his lifetime; they survived in the repertories of fiddlers, pipers and the last of the old Irish harpers and were collected and published piecemeal in the late 18th and 19th centuries.

Only in 1958 was his entire repertoire published in one edition by Donal O'Sullivan, and even then few lyrics were given and some of the tunes were edited to make them fit the treble register.

A definitive and comprehensive edition of harp settings matched with the words of the songs has yet to be produced although a number of song settings appeared in The Bunting Collection of Irish Folk Music and Song by Donal O'Sullivan.

Performances[link]

Some of his compositions are performed by many popular Irish musicians, such as Planxty, The Chieftains and The Dubliners. In addition, O'Carolan's Concerto has been used as a neutral Slow March by the Foot Guards of the British Army during the ceremony of Trooping the Colour.

Notable compositions[link]

• "Carolan's Concerto"
• "Carolan's Draught"
• "Carolan's Receipt (Dr. John Stafford)"
• "Carolan's Welcome"
• "Carolan's Ramble to Cashel"
• "Dr. John Hart, Bishop of Achonry"
• "Eleanor Plunkett"
• "Fanny Power"
• "George Brabazon"
• "Hewlett"
• "John O'Connor"
• "Mrs Mc Dermott" (alternatively known as "Princess Royal")
• "Lord Inchiquin"
• "Planxty Irwin"
• "Sí Bheag, Sí Mhór"

Compositions[link]

Complete list (alphabetical order)

Other[link]

• O'Carolan Road in the Tenters area of Dublin 8 is named in his honour.
• Carolan Road and "Carolan Corner" shop are named in his honour in the Ballynafeigh area of south Belfast.
• The Polish band Myslovitz performs a cover of one of O'Carolan's songs called "Peggy Brown", which is arguably one of their greatest hits.

See also[link]

• Music of Ireland
• List of people on stamps of Ireland

References[link]

1. ^ According to the 5th edition of Grove's Dictionary of Music and Musicians, the version "O'Carolan" is "modern and lacks authority"

• Dónal O'Sullivan, Carolan - The Life, Times, and Music of an Irish Harper (1958)
• Dónal O'Sullivan, Songs of the Irish, Browne & Nolan, Dublin (1960)
• Art Edelstein, "Fair Melodies: Turlough Carolan; An Irish Harper" (2001)
• The first commercial recording of the Complete Works has been arranged and performed by Irish pianist: J.J. Sheridan (from Trigon Recordings)
• http://www.mohillparish.ie/MohillParishOnline/turlough.htm

External links[link]

• Recording of O'Carolan's tunes by Garlic Bread and french baroque ensemble "Le concert de l'Hostel Dieu"
• The Complete Carolan: all Carolan's 227 tunes arranged in open tunings for the guitar
• O'Carolan: pages on his life, his tunes, his songs, his harp, with audio files
• Nikolaus Newerkla, Playford Dances & Carolan Tunes, Moeck-Verlag Celle, 2007, tunes arranged for recorders and basso continuo
• Turlough O'Carolan: Irish Harper
• Turlough O'Carolan 1670-1738
• Complete Works of Turlough O'Carolan (musical scores)
• Carolan Fragment: one of the early sources described
• Gaelic harp keys (web article with suggested original keys of all O'Carolan's tunes)
•  "Torlogh O'Carolan". Catholic Encyclopedia. New York: Robert Appleton Company. 1913. 
• The first complete recording of the Complete Works of O'Carolan has been recorded and arranged by Irish pianist, J.J. Sheridan
• Free scores by Turlough O'Carolan at the International Music Score Library Project

	Sonata No. 84 in D Major for Organ Concerto for 2 Organs No. 1 in C Major
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Antonio Francisco Javier José Soler Ramos, usually known as Padre Antonio Soler, known in Catalan as Antoni Soler i Ramos (baptized 3 December 1729, died 20 December 1783) was a Spanish composer whose works span the late Baroque and early Classical music eras. He is best known for his keyboard sonatas, an important contribution to the harpsichord, fortepiano and organ repertoire.

Early life[link]

Soler was born in Olot (Catalonia, Spain) in the historical County of Besalú. In 1736, when he was six, he entered the Escolania of the Monastery of Montserrat where he studied music with the resident maestro Benito Esteve and organist Benito Valls. In 1744 he was appointed organist at the Cathedral of La Seu d'Urgell and appointed as a subdeacon at the same time. Later in life, he held posts as chapel master in Lleida and at the Royal Court in El Escorial.

Ministerial lifestyle[link]

Soler took Holy Orders at the age of 23 and his routine as a Hieronymite in El Escorial, Madrid was extremely busy. His 20 hour days were filled, yet Soler managed to produce more than 500 musical works. Amongst these were around 150 keyboard sonatas, many believed to have been written as sheet music for his pupil, the Infante Don Gabriel, a son of King Carlos III. Other pieces include Christmas villancicos^[1] and Latin church music including masses. He died at the monastery of San Lorenzo de El Escorial. No portraits of him are known to exist..

Compositions[link]

Padre Soler's most celebrated works are his keyboard sonatas, which are comparable to those composed by Domenico Scarlatti^{[says who?]} (with whom he may have studied). However, Soler's works are more varied in form than those of Scarlatti, with some pieces in three or four movements; Scarlatti's pieces are in one or two movements. Soler's sonatas were catalogued in the early twentieth century by Fr. Samuel Rubio and so all have 'R' numbers assigned.

Soler also composed concertos, quintets for organ and strings, motets,^[2] masses and pieces for solo organ. He also wrote a treatise, Llave de la modulación ("The Key to Modulation", 1762).

Soler's "Six Concertos for Two Organs" are still very much in the repertoire and have been often recorded. A fandango once attributed to Soler, and probably more often performed than any other work of his, is now thought by some to be of doubtful authorship.

Selected discography[link]

• Recordings of works solely by Soler
  • Soler: 8 Sonatas, Fandango. Played by harpsichordist Nicolau de Figueiredo. Passacaille 943
  • Soler: Fandango, 9 Sonatas. Played by harpsichordist Scott Ross. Erato
  • Soler: Fandango & Sonatas. Played by harpsichordist David Schrader. Cedille 004
  • Soler: Harpsichord Sonatas, vol. II. Played by harpsichordist David Schrader. Cedille 009
  • Soler: Sonatas. Played by pianist Elena Riu. Ensayo 9818
  • Soler: Complete Harpsichord Works. Played by Bob van Asperen (12 disks). Astrée
  • Soler: Sonatas para piano. Played by pianist Alicia de Larrocha. EMI CLASSICS
  • Soler: Los 6 Quintetos para clave y cuerda. Played by harpsichordist Genoveva Gálvez and the string quartet Agrupación Nacional de Música de Cámara. EMI CLASSICS
  • Soler: Sonatas for Harpsichord. Played by Gilbert Rowland. A multi-volume project on Naxos Records.
  • Soler: Six Concertos for Two Keyboard Instruments. Played by Kenneth Gilbert and Trevor Pinnock. Archiv Produktion 453171-2
  • Soler: Six Concertos for Two Organs. Played by Mathot and Koopman. Warner WEA/Atlantic/Erato ZK45741
  • Soler: Six Concertos for Two Organs. Played by E. Power Biggs (Flentrop organ on the left) and Daniel Pinkham (Hess organ on the right). Recorded at the Busch-Reisinger Museum, Harvard University, 1961. LP: Columbia Masterworks Stereo MS 6208 (Library of Congress catalog card number R60-1383)
  • Soler: 19 Sonatas. Played by Anna Malikova. Classical Records CR-049
  • Soler: Keyboard Sonatas and the "Fandango". Played by Maggie Cole. Virgin Classics
• Recordings of works by Soler & other composers
  • Favourite Spanish Encores. Played by pianist Alicia de Larrocha with Rafael Frühbeck de Burgos conducting the Royal Philharmonic Orchestra. London/Decca Legends 467687
  • Grandes Pianistas Españoles. Played by pianist Alicia De Larrocha. Rtve 65235
  • Piano Español. Played by pianist Jorge Federico Osorio. Cedille 075
  • The Emperor's Fanfare. pljayed by Michael Murray on his organ blaster cd.
  • Soler: Keyboard Sonatas Nos. 1-15. Played by pianist Martina Filjak. Naxos 8.572515

Sources[link]

• Soler, Antonio (Father)
• The Life and Times of Soler (includes audio and sheet music of Soler's keyboard works)

External links[link]

Wikimedia Commons has media related to: Antonio Soler

• Free scores by Antonio Soler in the Werner Icking Music Archive (WIMA)
• Free scores by Antonio Soler at the International Music Score Library Project
• Sonata No.10 in b-minor, performed by Ken Iisaka
• All sonatas (free scores)
• Dixit dominus domino meo from Visperas comunes