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John De Lancie (oboist)

John de Lancie (oboist)

John de Lancie was the principal oboist of the Philadelphia Orchestra for many years. Richard Strauss wrote his oboe concerto for de Lancie, whom he met during de Lancie's tour of duty as a soldier in Europe. John de Lancie passed away in 2001, at the age of 80. At the time he was one of the few remaining students of the legendary Marcel Tabuteau of the Curtis Institute of Music. De Lancie also taught at Curtis and served as its director. His son is the actor John de Lancie. Lancie, John de Lancie, John de Lancie, John de

Philadelphia Orchestra

The Philadelphia Orchestra, based in Philadelphia, Pennsylvania, is one of the "Big Five" symphony orchestras in the United States and usually considered among the finest in the world. Since 2001, its annual series of concerts have been performed in the Kimmel Center for the Performing Arts, near the Academy of Music, its old home of half a century since the orchestra was founded. It was founded in 1900 by Fritz Scheel, who also acted as its first conductor. In 1907, Karl Pohlig took over the post, but it was Leopold Stokowski, who became principal conductor in 1912, who made it famous. Under him, the orchestra gained a reputation for great virtuosity. It was under Stokowski's direction that the orchestra was featured in the 1940 Disney film Fantasia. In 1936, Eugene Ormandy joined the organisation, and jointly held the post of Principal Conductor with Stokowski until 1938, when he took over the role full time. He remained with the orchestra for forty years, and many of the orchestra's best known recordings were made under his baton. Ormandy was succeeded by Riccardo Muti (principal conductor 1981-92) and Wolfgang Sawallisch (1993-2002). The orchestra's current music director is Christoph Eschenbach.

Further reading


- The Philadelphia Orchestra: A Century of Music, edited by John Ardoin. 1999, Temple University Press, 240 pages.
- Those Fabulous Philadelphians, by Herbert Kupferberg. 1969, Scribner's New York, 257 pages.
- Riccardo Muti: Twenty Years in Philadelphia 1972-92, edited by Judith Karp Kurnick. 1992, Philadelphia Orchestra, 112 pages.
- The Philadelphia Orchestra Celebrates Sawallisch 1993-2003, edited by Sedgwick Clark. 2003, Philadelphia Orchestra, 80 pages.
- Within These Walls: A History of the Academy of Music in Philadelphia, by John Francis Marion. 1984, Academy of Music/Philadelphia Orchestra, 328 pages.

External links


- [http://www.philorch.org/ Official website / home page]
- [http://artofthestates.org/cgi-bin/performer.pl?ens=68 Art of the States: Philadelphia Orchestra] Category:American orchestras Category:Pennsylvania culture Category:Philadelphia, Pennsylvania ja:フィラデルフィア管弦楽団

Oboe

: For other meanings of oboe see Oboe (disambiguation). Oboe (disambiguation) The oboe is a musical instrument of the woodwind double reed family. It is a descendant of the shawm. The word "oboe" is derived from the French word hautbois, meaning "high wood". It is so-named because of the instrument's rather high and reedy sound. A musician who plays the oboe is called an oboist. Careful manipulation of embouchure and air pressure allows the player to express a huge range of emotions and moods.

The instrument

It is more difficult to play and produce a good tone on the oboe compared to woodwind instruments such as the flute or clarinet. Beginners often produce a nasal, often out-of-tune, and strident tone that is difficult to blend with other instruments, but an advanced oboist can produce a rich, warm, and beautiful tone. In comparison to other modern woodwind instruments, the oboe has a very clear and somewhat piercing tone, because it emphasizes the even harmonics. Its uniquely penetrating timbre gives it the ability to cut through and be audible over other instruments in large ensembles, making it easy to tune to. Orchestras usually set the pitch by listening to the oboe playing concert A. Setting the pitch of the oboe is achieved by changing the position of the reed in the instrument, also by permanently altering the scrape of the reed itself. Subtle changes in pitch are also possible by adjusting the embouchure. Some changes can also be made by meticulously adjusting the reed position.

Baroque oboe

The oboe first appeared in French courts around 1650. In the 17th century Jean Hotteterre and Michel Danican Philidor modified the shawm, so that the new oboe had a narrower bore and a reed which is held by the player's lips near the end. Henry Purcell was the first composer to specifically score for it and Johann Sebastian Bach wrote extensively for it. It was the main melody instrument in early military bands until ousted by the clarinet. Baroque oboes were generally made from boxwood or fruit wood, with a wider bore and wider reed than the modern instrument, giving it a "creamier" and more clarinet-like timbre. In the Baroque era the oboe had two brass keys, one the C-key and the other the E♭-key. This instrument had no C♯4 nor were there octave-keys. Notes in the successive octaves were reached through overblowing. Notable oboe-makers of that period are the German Denner and the English Stanesby. The range for the Baroque oboe extends from C4 to E♭6. In the 20th century, a few makers began producing new Baroque oboes to specifications from surviving historical instruments, for use in the performance of early music. Stanesby

The Classical oboe

Later, in the classical period, the oboe became outfitted with eight keys, among them the so-called G♯-key and the long-awaited octave-key, which allowed the player to play in the higher ranges without overblowing the instrument. The range for the Classical oboe extends from C4 to F6. classical

Modern oboe

The modern oboe is most commonly made from grenadilla (or African blackwood) and some manufacturers also make oboes out of other members of the dalbergia family of wood (cocobolo; rosewood; violetwood), or high-quality plastic resin. The oboe has an extremely narrow conical bore. The oboe does not have a mouthpiece like the clarinet or saxophone, instead it has a double-reed consisting of two thin blades of cane tied together on a small-diameter metal tube (staple). The reed is held on the lips. The commonly accepted range for the oboe extends from B♭3 to G6, over two and a half octaves, though its common tessitura lies from D4 to E♭6. Together with the flute/recorder it is one of the oldest woodwind instruments. The modern oboe has more than 20 keys which are usually silver-plated or occassionally gold-plated. The oboe is fingered similar to the flute and saxophone. The modern oboe mechanism is mainly of two types: (a) the French conservatoire system and (b) the English thumbplate system. There is also a combination system where the French system has a thumbplate added, and also a German system involving fully automatic octaves.

Other members of the oboe family

The oboe has several siblings. The most widely known today is the cor anglais, or English horn, the alto member of the family. A transposing instrument, it is pitched in F, a perfect fifth lower than the standard oboe. The oboe d'amore, the mezzo-soprano member of the family, is pitched in A, a minor third lower than the oboe. J.S. Bach used both the oboe d'amore as well as the taille and oboe da caccia, Baroque antecedents of the cor anglais, extensively. Even less common is the baritone or bass oboe, which sounds one octave lower than the regular oboe. Delius and Holst both scored for it, but today it is almost a museum piece. Instead, the more powerful heckelphone is used. The least common of all is the musette (also called oboe musette or piccolo oboe), the sopranino member of the family; it is usually pitched in E-flat or F above the standard oboe. Keyless folk versions of the oboe (most descended from the shawm) are found throughout Europe. These include the musette (France) and bombarde (Brittany), the piffero and ciaramella (Italy), and the xirimia (Spain). Many of these are played in tandem with local forms of bagpipe. Similar oboe-like instruments, most believed to derive from Middle Eastern models, are also found throughout Asia as well as in North Africa.

Classical works featuring the oboe


- Wolfgang Amadeus Mozart, Oboe Concerto in C major, Quartet in F major
- Antonio Vivaldi, Oboe Concerti
- Johann Sebastian Bach, Brandenburg Concertos nos. 1 and 2, Concerto for Violin and oboe
- Tomaso Albinoni, Oboe Concerti
- George Frideric Handel, The Arrival of the Queen of Sheba, Oboe Concerti and Sonate
- Georg Philipp Telemann, Oboe Concerti and Sonate
- Richard Strauss, Oboe Concerto
- Joseph Haydn, Oboe Concerto in C major
- Vincenzo Bellini, Concerto in E♭ major
- Luciano Berio, Sequenza VII
- Francis Poulenc, Oboe Sonata
- Benjamin Britten, 6 Metamorphoses after Ovid
- Robert Schumann, 3 Romanzen for Oboe and Piano
- Carl Nielsen, Two Fantasy Pieces for Oboe and Piano
- Karl Ditters von Dittersdorf, Oboe Concertos
- Georg Philipp Telemann, Sonata in A minor
- Benedetto Marcello, Concerto in C minor (originally in D minor)

The oboe in non-classical genres

While the oboe is rather rarely used in musical genres other than Western classical, there have been a few notable exceptions like Rondò Veneziano directed by Gian Piero Reverberi.

Traditional and folk music

Although keyless folk oboes are still used in many European folk music traditions, the modern oboe has been little used in traditional music. One exception was the late Derek Bell, harpist for the Irish group Chieftains, who used the instrument in some performances and recordings. The U.S. contra dance band Wild Asparagus, based in western Massachusetts, also uses the oboe, played by David Cantieni.

Jazz

Although the oboe never featured prominently in jazz music, some early bands, most notably that of Paul Whiteman, included it for coloristic purposes. The multi-instrumentalist Garvin Bushell (1902-1991) played the oboe in jazz bands as early as 1924 and used the instrument throughout his career, eventually recording with John Coltrane in 1961.[http://home.att.net/~dawild/jcdisc61.htm] Though primarily a tenor saxophone player, Yusef Lateef was among the first (in 1963) to use the oboe as a solo instrument in modern jazz performances and recordings. The 1980s saw an increasing number of oboists try their hand at non-classical work, and many players of note have recorded and performed alternative music on oboe.

Other oboists performing in non-classical genres


- Marshall Allen (with Sun Ra Arkestra)
- Kyle Bruckmann
- Garvin Bushell
- Joseph Celli
- Brian Charles
- Gene Cipriano
- Lindsay Cooper
- Robbie Lynn Hunsinger
- Joseph Jarman
- Karl Jenkins
- Rahsaan Roland Kirk
- Caris Liebman
- Andy Mackay (with Roxy Music)
- Charlie Mariano
- Paul McCandless (with Paul Winter Consort and Oregon)
- Mitch Miller
- Roscoe Mitchell
- Romeo Penque
- Dewey Redman
- Don Redman
- Nancy Rumbel
- Brenda Schumann-Post
- Matt Sullivan
- Sufjan Stevens

Famous oboists

See this list of oboists.

Fictional oboist


- Tess Bagthorpe (in the Bagthorpe Saga by Helen Cresswell)

Oboe manufacturers

A majority of professional oboists favor instruments made by the French company F. Lorée, long considered the premier oboe maker, with other firms producing the instrument including Laubin (United States), Howarth (England), and Patricola (Italy). Following is a list of the major oboe manufacturers.
- [http://www.buffet-crampon.com/ Buffet]
- [http://www.oboes.com/ Covey]
- [http://www.fossati-paris.com/ Fossati]
- [http://www.foxproducts.com/ Fox]
- [http://www.frankundmeyer.de/ Frank]
- [http://www.howarth.uk.com/ Howarth]
- Larilee
- A. Laubin
- [http://www.loree-paris.com/ F. Lorée]
- [http://www.marigaux.com/ Marigaux]
- [http://www.moennig-adler.de/ Mönnig]
- [http://www.patricola.it/ Patricola]
- [http://www.rigoutat.com/ Rigoutat]
- Selmer
- Yamaha

Notes

# This is in contrast to the clarinet, whose tone emphasizes the odd-numbered harmonics, giving it a very mellow timbre.

External links


- [http://mfo.alte-musik.net/ Bruce Haynes: Music for oboe] Online bibliography of literature for oboe written between 1650 and 1800.
- [http://www.uky.edu/~moses/bdrp.ref/jazz.htm Experiments in Jazz Oboe by Alison Wilson]
- [http://www.domusaurea.org/oboe/ The All Oboe Page]
- [http://www.oboeinsight.com/ oboeinsight]
- [http://www.oboespace.com/ OboeSpace: Oboe information]
- [http://www.oboists.co.uk/ Oboists Online]
- [http://www.public.asu.edu/~schuring/main.html ASU Oboe Homepage]
- [http://www.oboesforidgets.com/ Oboes for Idgets]
- [http://www.oboe.ru/ Russian Oboe Page]
- [http://www.tkwo.jp/Lesson/Oboe.html Tokyo Kosei Wind Orchestra - Oboe Lesson Room (Video Demo)] Category:Woodwind instruments Category:Oboes ko:오보에 ja:オーボエ simple:Oboe

Concerto

In classical music, the word concerto (pl. concerti; from the Italian concerto, that means concert) is a label for a piece in which a small musical group and a large musical group are given distinct roles, with the smaller group to the fore. The most common kind of concerto pairs a solo instrument with a full orchestra. The term also implies the form of a piece, as most pieces called "concerto" have three (sometimes four) movements, in which the first movement is typically a sonata form and the last a rondo. The term apparently arose in the beginning of the 17th century, and as its etymology suggests, came to describe chiefly compositions which bring unequal instrumental or vocal forces into opposition.

Early usage

Early in the 17th century, and persisting in some cases into the mid-18th, the term "concerto" was applied as one of several indiscriminate choices for any piece that featured opposing or contrasting sonic groups, particularly voices with continuo (see also concertato). The first major influences on the concerto were made by Antonio Vivaldi who established the ritornello form used in the movements. He wrote the famous group of violin concertos titled The Four Seasons. By Johann Sebastian Bach's time the concerto as a polyphonic instrumental form was thoroughly established. The term frequently appears in the autograph title-pages of his church cantatas, even when the cantata contains no instrumental prelude. Indeed, so entirely does the actual concerto form, as Bach understands it, depend upon the opposition of masses of tone unequal in volume with a compensating inequality in power of commanding attention, that Bach is able to rewrite an instrumental movement as a chorus without the least incongruity of style. A splendid example of this is the first chorus of a university festival cantata, "Vereinigte Zwietracht der wechselnden Saiten," the very title of which ("united contest of changing strings") is a perfect definition of the earlier form of concerto grosso, in which the chief mass of the orchestra was opposed, not to a mere solo instrument, but to a small group called the concertino or else the whole work was for a large orchestral mass in which tutti passages alternate with passages in which the whole orchestra is dispersed in every possible kind of grouping. But the special significance of this particular chorus is that it is arranged from the second movement of the first Brandenburg concerto and that while the orchestral material is unaltered except for transposition of key, enlargement of force and substitution of trumpets and drums for the original horns, the whole chorus has been evolved from the solo part for a kit violin (violino piccolo). This admirably illustrates Bach's grasp of the true idea of a concerto, namely, that whatever the relations may be between the forces in respect of volume or sound, the whole treatment of the form must depend upon the healthy relation of function between that force which commands more and that which commands less attention. Ceteris paribus: the individual, suitably placed, will command more attention than the crowd, whether in real life, drama or instrumental music. And in music the human voice, with human words, will thrust any orchestral force into into the background, the moment it can make itself heard at all. Hence it is not surprising that the earlier concerto forms should show the closest affinity (not only in general aesthetic principle, but in many technical details) with the form of the vocal aria, as matured by Alessandro Scarlatti. And the treatment of the orchestra is, mutatis mutandis, exactly the same in both.

Concerto in music

The orchestra is entrusted with a highly pregnant and short summary of the main contents of the movement, and the solo, or the groups corresponding thereto, will either take up this material or first introduce new themes to be combined with it, and, in short, enter into relations with the orchestra very like those between the actors and the chorus in Greek drama. This relation is often more complex according to the composer's judgment rather than any strict rule, with the orchestral section that precedes the solo entry - the "tutti" - often containing material whose reappearance must wait until some dramatic point much later in the movement, or may, as in some of Mozart's piano concertos, never be heard again at all.

Evolution of the form

If the aria before Mozart may be regarded as a single large melody expanded by the device of the ritornello so as to give full expression to the power of a singer against an instrumental accompaniment, so the polyphonic concerto form may be regarded as an expansion of the aria form to a scale worthy of the larger and purely instrumental forces employed, and so rendered capable of absorbing large polyphonic and other types of structure incompatible with the lyric idea of the aria. The da capo form, by which the aria had attained its full dimensions through the addition of a second strain in foreign keys followed by the original strain da capo, was absorbed by the polyphonic concerto on an enormous scale, both in first movements and finales (see Bach's Clavier concerto in E, Violin concerto in E, first movement), while for slow movements the ground bass diversified by changes of key (cavier concerto in D minor), the more melodic types of binary form, sometimes with the repeats ornamentally varied or inverted (Concerto for 3 klaviers in D minor, Concerto for clavier, flute and violin in A minor), and in finales the rondo form (Violin concerto in E major, Clavier concerto in F minor) and the binary form (3rd Brandenburg concerto) may be found. When conceptions of musical form changed and the modern sonata style arose (see also sonata form), the peculiar conditions of the concerto gave rise to problems the difficulty of which only the highest classical intellects could appreciate or solve. The number and contrast of the themes necessary to work out a first movement of a sonata are far too great to be contained within the single musical sentence of Bach's and George Frideric Handel's ritornello, even when it is as long as the thirty bars of Bach's Italian concerto (a work in which every essential of the polyphonic concerto is reproduced on the harpsichord by means of the contrasts between its full register on the lower of its two keyboards and its solo stops on both). Bach's sons had taken shrewd steps in forming the new style; and Mozart, as a boy, modelled himself closely on Johann Christian Bach, and by the time he was twenty was able to write concerto ritornellos that gave the orchestra admirable opportunity for asserting its character and resource in the statement in charmingly epigrammatic style of some five or six sharply contrasted themes, afterwards to be worked out with additions by the solo with the orchestra's co-operation and intervention.

Solo and tutti passages

As the scale of the works increases the problem becomes very difficult, because the alternation between solo and tutti easily produces a sectional type of structure incompatible with the high degree of organization required in first movements; yet frequent alternation is evidently necessary, as the orchestral solo is audible only above a very subdued orchestral accompaniment, and it would be highly inartistic to use the orchestra for no other purpose. Hence in the classical concerto the ritornello is never abandoned, in spite of the enormous dimensions to which the sonata style expanded it. And though from the time of Mendelssohn onwards most composers have seemed to regard it as a conventional impediment easily abandoned, it may be doubted whether any modern concerto, except the four magnificent examples of Johannes Brahms, and Dr Joachim's Hungarian concerto, possesses first movements in which the orchestra seems to enjoy breathing space. And certainly in the classical concerto the entry of the solo instrument, after the long opening tutti, is always dramatic in direct proportion to its delay. The great danger in handling so long an orchestral prelude is that the work may for some minutes be indistinguishable from a symphony and thus the entry of the solo may be unexpected without being inevitable. This is especially the case if the composer has treated his opening tutti like the exposition of a sonata movement, and made a deliberate transition from his first group of themes to a second group in a complementary key, even if the transition is only temporary, as in Ludwig van Beethoven's C minor concerto.

Balance in the classical concerto

Mozart keeps his whole tutti in the tonic, relieved only by his mastery of sudden subsidiary modulation; and so perfect is his marshalling of his resources that in his hands a tutti a hundred bars long passes by with the effect of a splendid pageant, of which the meaning is evidently about to be revealed by the solo. After the C minor concerto, Beethoven grasped the true function of the opening tutti and enlarged it to his new purposes. With an interesting experiment of Mozart's before him, he, in his G major concerto, Op. 53, allowed the solo player to state the opening theme, making the orchestra enter pianissimo in a foreign key, a wonderful incident which has led to the absurd statement that he abolished the opening tutti, and that Mendelssohn in so doing has followed his example. In his C minor concerto, Beethoven also gave considerable variety of key to the opening tutti by the use of an important theme which executes a considerable series of modulations, an entirely different thing from a deliberate modulation from material in one key to material in another. His fifth and last piano concerto, in E flat, commonly called the Emperor, begins with a rhapsodical introduction of extreme brilliance for the solo player, followed by a tutti of unusual length which is confined to the tonic major and minor with a strictness explained by the gorgeous modulations with which the solo subsequently treats the second subject. In this concerto, Beethoven also dispenses with the only really conventional feature of the form, namely, the cadenza, a custom elaborated from the operatic aria, in which the singer was allowed to extemporize a flourish on a pause near the end. A similar pause was made in the final ritornello of a concerto, and the soloist was supposed to extemporize what should be equivalent to a symphonic coda, with results which could not but be deplorable unless the player (or cadenza writer) were either the composer himself, or capable of entering into his intentions, like Joachim, who has written the finest extant cadenza of classical violin concertos.

Contrast and the romantic concerto

Brahms's first concerto in D minor, Op. 15, was the result of an immense amount of work, and, though on a mass of material originally intended for a symphony, was nevertheless so perfectly assimilated into the true concerto form that in his next essay, the violin concerto, Op. 77, he had no more to learn, and was free to make true innovations. He succeeds in presenting the contrasts even of remote keys so immediately that they are serviceable in the opening tutti and give the form a wider range in definitely functional key than any other instrumental music. Thus in the opening tutti of the D minor concerto the second subject is announced in B-flat minor. In the B-flat piano concerto, Op. 83, it appears in D minor, and in the double concerto, Op. 102, for violin and violoncello in A minor it appears in F major. In none of these cases is it in the key in which the solo develops it, and it is reached with a directness sharply contrasted with the symphonic deliberation with which it is approached in the solo. In the violin concerto, Brahms develops a counterplot in the opposition between solo and orchestra, inasmuch as after the solo has worked out its second subject the orchestra bursts in, not with the opening ritornello, but with its own version of the material with which the solo originally entered. In other words we have now not only the development by the solo of material stated by the orchestra but also a counter-development by the orchestra of material stated by the solo. This concerto is, on the other hand, remarkable as being the last in which a blank space is left for a cadenza, Brahms having in his friend Joachim a kindred spirit worthy of such trust. In the piano concerto in B-flat, and in the double concerto, the idea of an introductory statement in which the solo takes part before the opening tutti is carried out on a large scale, and in the double concerto both first and second subjects are thus suggested.

Structure of movements

It is unnecessary to speak of the other movements of concerto form, as the sectional structure that so easily results from the opposition between solo and orchestra is not of great disadvantage to slow movements and finales, which accordingly do not show important differences from the ordinary types of symphonic and chamber music. The scherzo, on the other hand, is normally of too small a range of contrast for successful adaptation to concerto form, and the solitary great example of its use is the second movement of Brahms's B-flat piano concerto. Nothing is more easy to handle with inartistic or pseudoclassic effectiveness than the opposition between a brilliant solo player and an orchestra; and, as the inevitable tendency of even the most artistic concerto has been to exhaust the resources of the solo instrument in the increased difficulty of making a proper contrast between solo and orchestra, so the technical difficulty of concertos has steadily increased until even in classical times it was so great that the orthodox definition of a concerto is that it is an instrumental composition designed to show the skill of an executant, and one which is almost invariably accompanied by orchestra. This idea is in flat violation of the whole history and aesthetics of the form, which can never be understood by means of a study of averages. In art the average is always false, and the individual organization of the greatest classical works is the only sound basis for generalizations, historic or aesthetic.

Media

See also


- Clarinet concerto
- Harpsichord concerto
- Piano concerto
- Viola concerto
- Violin concerto
- Violoncello concerto
- Concerto for Orchestra
- Concertino
- Chorale concerto
- Concerto grosso

References

Layton, Robert, ed. A Companion to the Concerto. New York: Schirmer Books, 1989. ISBN 0028719611. Category:Musical forms Category:Musical compositions ko:협주곡 ja:協奏曲

Category:1921 births

ko:분류:1921년 태어남 ja:Category:1921年生

Category:Oboists

Category:Classical musicians by instrument

Molukkrepser


- Carcinoscorpius rotundicauda
- Limulus polyphemus
- Tachypleus gigas
- Tachypleus tridentatus Dolkhaler eller hesteskokrabber er en liten leddyrgruppe som er søstergruppen til edderkoppdyrene. De mest fremtredende egenskapene er den dolkaktige halen og det runde ryggskjoldet (jf. navnene). På skjoldets overside sitter to par med øyne: Medianøynene er to tettstående små prikker helt foran, fasettøynene er store og ligger mer mot sidene. Snur man dyrene på ryggen, ser man at munnåpningen, chelicerene og de fem gangbeinparene ligger under og innenfor det vide, hesteskoformede ryggskjoldet. Et særtrekk er at også bakkroppens sju første segmenter er dekket av et felles skjold. Til tross for dette krigerske utseendet lever dolkhalene kun av åtsel, leddormer, små muslinger og krepsdyr, som de graver etter i sandbunnen i grunne kystområder. Mens Limulus polyphemus er en atlantisk-nordamerikansk art, finner man de tre resterende artene, som også går under navnet molukkreps, i Sydøst-Asia. Dolkhalene omtales som levende fossiler, fordi gruppens morfologi har endret seg svært lite over de siste 150 millioner år. De ligner også overfladisk på de utdødde trilobittene, og har bevart flere egenskaper fra leddyrenes stamart som ikke lenger finnes hos edderkoppdyr, bl.a. fasettøyne, spalteføtter og bokgjeller. Kategori:Leddyr

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Nurullah Ataç 21 Ağustos 1898 tarihinde İstanbul Beylerbeyi'nde doğdu. İlkokuldan sonra dört yıl kadar Galatasaray Sultanisi'ne, sonra da bir süre Edebiyat Fakültesi'ne (1922) gittiyse de Fransızca öğrenmesi ve yetişmesi okullarda değil, kendi kendine ve özeldir. 1921'de Nişantaşı Lisesi'nde Fransızca okutarak başladığı
Ahmet Necdet Sezer

Özgeçmişi


- 13 Eylül 1941'de tarihinde Afyon'da doğdu.
- 1958 yılında Afyon Lisesi'nden 1962'de Ankara Üniversitesi Hukuk Fakültesi'nden mezun oldu. Aynı yıl Ankara'da hakim adayı olarak göreve başladı.

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