prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Where did Helena Carroll's father study?

The following are given passages.
Context 1: Passage 1:
Donnie Elbert
Donnie Elbert (May 25, 1936 – January 26, 1989) was an American soul singer and songwriter, who had a prolific career from the mid-1950s to the late 1970s  His U S  hits included "Where Did Our Love Go?" (1971), and his reputation as a Northern soul artist in the UK was secured by "A Little Piece of Leather", a performance highlighting his powerful falsetto voice 

Career
Elbert was born in New Orleans, Louisiana, but when aged three his family relocated to Buffalo, New York  He learned to play guitar and piano as a child, and in 1955 formed a doo-wop group, the Vibraharps, with friend Danny Cannon  Elbert acted as the group's guitarist, songwriter, arranger, and background vocalist, making his recording debut on their single "Walk Beside Me"  He left the group in 1957 for a solo career, and recorded a demonstration record that earned him a recording contract with the King label's DeLuxe subsidiary  His solo debut "What Can I Do?" reached #12 in the U S  R&B chart, and he followed it up with the less successful "Believe It or Not" and "Have I Sinned?", which became a regional hit in Pittsburgh He continued to release singles on DeLuxe, but with little commercial success, and also played New York's Apollo Theater and toured the Chitlin' Circuit of African-American owned nightclubs  After completing an album, The Sensational Donnie Elbert Sings, he left DeLuxe in 1959, joining first Red Top Records, where in 1960 he recorded "Someday (You'll Want Me to Want You)", and then Vee-Jay Records, where he had another regional hit with "Will You Ever Be Mine?", which reportedly sold 250,000 copies in the Philadelphia area but failed to take off nationwide  His career was also interrupted by a spell in the US Army, from which he was discharged in 1961  He then recorded singles for several labels, including Parkway, Cub and Checker, but with little success  However, although the 1965 Gateway label release of "A Little Piece of Leather" failed to chart in the US, the record became a #27 pop hit when released on the London label in the UK several years later in 1972, and remains a Northern soul favorite Elbert relocated to the UK in 1966, where he married  There, he recorded "In Between The Heartaches" for the Polydor label in 1968, a cover version of the Supremes' hit "Where Did Our Love Go?" and an album of Otis Redding cover versions, Tribute To A King  His 1969 Deram release "Without You" had a rocksteady rhythm, and went to the top of the Jamaican charts 
He returned to the US the same year and had his first US chart hit in over a decade with the Rare Bullet release, "Can't Get Over Losing You", which reached #26 on the Billboard R&B chart  The track and its b-side, "Got To Get Myself Together", both written by Elbert, were released several times on different labels in subsequent years  After the success of that record, Elbert moved labels for a re-make of the Supremes' 1964 hit, "Where Did Our Love Go?" on All Platinum  It became his biggest hit, reaching #15 on the Billboard pop chart, #6 on the R&B chart, and (in 1972) #8 in the UK  Its follow-up, "Sweet Baby" reached #30 on the R&B chart in early 1972 
Elbert then signed with Avco-Embassy, where he entered the recording studio with the successful production team of Hugo & Luigi  His cover of the Four Tops' "I Can't Help Myself" reached #14 on the Billboard R&B chart, but climbed as high as #2 on the alternative Cashbox R&B chart  Elbert baulked at the label's insistence that he record material associated with Motown and departed with only a few tracks left to record for an album  Even so, the album was released after Avco sold it on to a budget label, Trip 
He returned to All Platinum and had a run of minor R&B hits, but left after a disagreement over the claimed authorship of Shirley & Company's R&B chart-topper "Shame Shame Shame", which was credited to label owner Sylvia Robinson  Elbert was also involved in a copyright wrangle over Darrell Banks' major R&B and pop hit in 1966, "Open The Door To Your Heart"  He had originally written the song as "Baby Walk Right In" (still its alternative legal title) and given it to Banks, but received no writing credit on the original record  Eventually, the matter was resolved by BMI with a disgruntled Elbert awarded joint authorship with Banks  "Open The Door" has since been given award-winning status by BMI and is one of over 100 songs written or co-written by Elbert 
For 1975's "You Keep Me Crying (With Your Lying)", Elbert formed his own label and "I Got to Get Myself Together", appeared on an imprint bearing his surname, but it was among his final recordings By the mid-1980s, Elbert had retired from performing and became director of A&R for Polygram's Canadian division  He suffered a massive stroke and died in 1989, at the age of 52 

Discography
Chart singles
Albums
The Sensational Donnie Elbert Sings (King, 1959)
Tribute to a King (1968)
Where Did Our Love Go? (All Platinum, 1971) U S  #153, R&B #45
Have I Sinned? (Deluxe, 1971)
Stop in the Name of Love (Trip, 1972)
A Little Bit of Leather (1972)
Roots of Donnie Elbert (Ember, 1973)
Dancin' the Night Away (All Platinum, 1977)

See also
List of disco artists (A-E)
Passage 2:
Benny Rubinstein
Benny Rubinstein (בני רובינשטיין) is an Israeli former footballer and current real estate developer  He played soccer for Maccabi Netanya and Hapoel Netanya  At the 1969 Maccabiah Games, Rubinstein played soccer for Israel, winning a gold medal 

Biography
Rubinstein was born in Netanya, Israel  His wife is Sarah Rubinstein  Benny's son, Aviram also played football for Maccabi Netanya He played soccer for Maccabi Netanya and Hapoel Netanya  At the 1969 Maccabiah Games, Rubinstein played soccer for Israel, winning a gold medal Rubinstein then worked as a real estate agent, and now works in real estate development 

Honours
Israeli Premier League (1):
1970-71
Passage 3:
Nancy Baron
Nancy Baron is an American rock singer who was active in New York City in the early 1960s, known for the singles "Where Did My Jimmy Go?" and "I've Got A Feeling" 

Early life
Born into a family of singers and writers, Baron was introduced to many musical genres by her family at an early age  Noting her singing talents, her parents brought their young child to auditions for musical theater productions in New York City  The singer joined Glee clubs at school and formed her own female singing groups at school  At the age of 11, she heard her first "Rock and Roll" song  This affected her taste in music and desire to emulate the style; it was the first time she heard a Rock group with a female lead singer  This was significant since she realized that she could be a lead singer 

Recording career
At the age of 15, her parents sent her for vocal coaching in Manhattan, N Y  After a while her coach sent her to record a demonstration record in a sound studio near Broadway  Upon hearing her sing, the sound engineer contacted his friend who was a producer of a small record company in N Y C ; he was impressed by her voice and immediately signed her to a contract  The singer's mother co-signed the document since Baron was a fifteen-year-old minor at the time Baron became one of the many girl group/girl sound singers of the early 1960s  Baron was not a member of a group; her producers would hire "pay for hire" backup groups for her recordings  This "sound" as it is referred to had much to do with Phil Spector, one of its major creators; Spector produced recordings of this genre prolifically  The groups were composed of young adult or teenage girls, each with a lead singer and any number of back up singers At the time, the troubled label (a small N Y C  record company owned by Wally Zober) could not promote Baron's "I've Got A Feeling"/"Oh Yeah" 45 vinyl and so she eventually signed a contract with Jerry Goldstein producer of FGG productions, also located in Manhattan  "Where Did My Jimmy Go"/"Tra la la, I Love You" was the result (Diamond) 

Later life
Baron left the music industry at the age of 19, choosing to enter higher education due to changes in the music industry of those days; she eventually received an advanced degree 
Baron's "I've Got a Feeling" was covered by The Secret Sisters on their 2010 self-titled album as well as being released as a single  AllMusic describes Baron's song as "an early-'60s pop/rock obscurity" 
Passage 4:
Jack Carroll (hurler)
Jack Carroll (1921–1998) is an Irish hurler who played as a goalkeeper for the Offaly senior hurling team 
Carroll made his first appearance for the team during the 1943 championship and was a regular member of the starting fifteen until his retirement after the 1953 championship  During that time he enjoyed little success as Offaly were regarded as one of the minnows of provincial hurling 
At club level Carroll was a five-time county club championship medalist with Coolderry 
Carroll's father-in-law, "Red" Jack Teehan, his son, Pat Carroll, and his grandson, Brian Carroll, also played hurling with Offaly 
Passage 5:
Andrew Allen (singer)
Andrew Allen (born 6 May 1981) is a Canadian singer-songwriter from Vernon, British Columbia  He is signed to Sony/ATV and has released five top ten singles, and written and recorded many others, including Where Did We Go? with Carly Rae Jepsen  He also records covers and posts them on YouTube 

Background
Raised in British Columbia's Okanagan Valley, his acoustic pop/rock music is inspired by artists like Jason Mraz and Jack Johnson 

Career
Andrew Allen scored his first hit in 2009, when I Wanna Be Your Christmas cracked the Top Ten in his native Canada  He was honored as the feature performer for the Sochi 2014 hand off finale on the internationally broadcast Closing Ceremony of the 2010 Paralympic Winter Games held at Whistler, British Columbia  Allen continued building an international profile in 2010, and released his biggest single Loving You Tonight, which sold more than 100,000 copies worldwide, was featured on the Gold Selling NOW 37, hit #6 on the Canadian charts for 22 weeks in a row and #30 on the US Hot AC charts, and got him a record deal with Epic after spending much of that year on the road  Because of the song's attention, Allen had the opportunity to perform with some of the world's biggest artists like Bruno Mars, One Republic, The Barenaked Ladies, Train, Matt Nathanson, Joshua Radin, Andy Grammer, The Script, Nick Carter, Kris Allen, Carly Rae Jepsen and many others 
Loving You Tonight was also featured on the soundtrack of Abduction starring Taylor Lautner 

Collaborations
Andrew Allen is also well known in the songwriting community, and has written songs with artists like Meghan Trainor, Rachel Platten, Cody Simpson, Carly Rae Jepsen, Matt Simons, Conrad Sewell as well as writer/producers like Toby Gad, Ryan Stewart, Eric Rosse, Jason Reeves, John Shanks, Nolan Sipes, Mark Pellizzer (Magic), Brian West and Josh Cumbee  Numerous songs he has been a part of writing have been released by various artists, including Last Chance, which was on the Grammy nominated album Atmosphere by Kaskade feat  DJ Project 46, Ad Occhi Chiusi which was on the Double Platinum release by Italian artist Marco Mengoni and Maybe (which Allen also later released himself) released by teen pop sensation Daniel Skye, as well as many others 

Singles
I Wanna Be Your Christmas (2009)
Loving You Tonight (2010)
I Want You (2011)
Where Did We Go? (2012)
Satellite (2012)
Play with Fire (2013)
Thinking About You (2014)
What You Wanted (2016)
Favorite Christmas Song (2017)
Maybe (2017)

Discography
The Living Room Sessions (2008)
Andrew Allen EP (2009)
The Mix Tape (2012)
Are We Cool? (2013)
All Hearts Come Home (2014)
The Writing Room (2020)
12:34 (2022; pre-released on vinyl in 2021)

Songwriting credits
Last Chance released by Kaskade featuring Project 46 on his Grammy nominated record Atmosphere 
Ad Occhi Chiusi released by Marco Mengoni on his Double Platinum record 
Reasons released by Project 46 
No Ordinary Angel released by Nick Howard from The Voice Germany 
Million Dollars released by Nick Howard from The Voice Germany 
Maybe released by Daniel Skye 
Passage 6:
Helena Carroll
Helena Winifred Carroll (13 November 1928 – 31 March 2013) was a veteran film, television and stage actress 

Early life
Born to clothing designer Helena Reilly and Abbey Theatre playwright Paul Vincent Carroll, she was the youngest of three sisters  Her elder sisters were Theresa Elizabeth Perez (1924–2001), a classically trained musician and the producer/founder of the People's Pops Concerts in Phoenix, Arizona, and journalist Kathleen Moira Carroll (1927–2007) Carroll attended Clerkhill Notre Dame High School, a Roman Catholic convent school in Dumbarton 

Stage career
Carroll received her acting training at the Central School which later became the Webber Douglas Academy of Dramatic Art London, appearing in three plays in London's West End and a film, Midnight Episode, by age 20  She made her Broadway debut in Separate Tables by Terence Rattigan  She moved to the U S  during the 1950s, touring and performing on Broadway and co-founded, with Dermot McNamara, The Irish Players, a repertory theater company in Manhattan Helena split her stage work between Dublin, London and New York, appearing on Broadway in, among other productions the original production of Oliver! as Mrs  Sowerberry, as well as Pickwick, Design for Living, Waiting in the Wings, and the Elizabeth Taylor-Richard Burton revival of Private Lives (New York and Los Angeles)  Her last stage performance was in 2007 at the age of 78 

Film and television
Carroll played the leading role of Nora, in a television production of her father's play, The White Steed (1959 Play of the Week Series), directed by Joe Gisterak  Gisterak directed a 1980 commissioned opera of her father's play, Beauty is Fled, as part of the "Children's Opera Series", which her sister,  Theresa Perez founded  The opera was performed at the Phoenix Symphony Hall 
Prompted by producer Al Simon and casting director Caro Jones, Carroll moved to Los Angeles in the late 1960s and appeared in numerous films and television programs, including the lively Aunt Kate in John Huston's Academy Award-nominated film The Dead, based on the short story by James Joyce  Other works in Hollywood included The Friends of Eddie Coyle starring Robert Mitchum, The Jerk, directed by Carl Reiner and starring Steve Martin, The Mambo Kings, the Warren Beatty remake of Love Affair, the 1979 NBC mini-series Backstairs at the White House, and such television programs as Kojak, General Hospital, The Edge of Night, Loving Couples, Laverne and Shirley, Murder She Wrote, and Married    With Children 

Death
Carroll resided in Los Angeles, and died in Marina del Rey, California from heart failure on 31 March 2013 at the age of 84  She is survived by a half brother, Brian Carroll; a niece, Helena Perez Reilly; and a great-nephew, Paul Vincent Reilly 

Filmography
Passage 7:
Robert Paul Smith
Robert Paul Smith (April 16, 1915 – January 30, 1977) was an American author, most famous for his classic evocation of childhood, Where Did You Go? Out  What Did You Do? Nothing 

Biography
Robert Paul Smith was born in Brooklyn, grew up in Mount Vernon, NY, and graduated from Columbia College in 1936  He worked as a writer for CBS Radio and wrote four novels: So It Doesn't Whistle (1946) (1941, according to Avon Publishing Co , Inc , reprint edition     Plus Blood in Their Veins copyright 1952); The Journey, (1943); Because of My Love (1946); The Time and the Place (1951) 
The Tender Trap, a play by Smith and Dobie Gillis creator Max Shulman, opened in 1954 with Robert Preston in the leading role  It was later made into a movie starring Frank Sinatra and Debbie Reynolds  A classic example of the "battle-of-the-sexes" comedy, it revolves around the mutual envy of a bachelor living in New York City and a settled family man living in the New York suburbs 
Where Did You Go? Out  What Did You Do? Nothing is a nostalgic evocation of the inner life of childhood  It advocates the value of privacy to children; the importance of unstructured time; the joys of boredom; and the virtues of freedom from adult supervision  He opens by saying "The thing is, I don't understand what kids do with themselves any more " He contrasts the overstructured, overscheduled, oversupervised suburban life of the child in the suburban 1950's with reminiscences of his own childhood  He concludes "I guess what I am saying is that people who don't have nightmares don't have dreams  If you will excuse me, I have an appointment with myself to sit on the front steps and watch some grass growing "
Translations from the English (1958) collects a series of articles originally published in Good Housekeeping magazine  The first, "Translations from the Children," may be the earliest known example of the genre of humor that consists of a series of translations from what is said (e g  "I don't know why  He just hit me") into what is meant (e g  "He hit his brother ")
How to Do Nothing With Nobody All Alone By Yourself (1958) is a how-to book, illustrated by Robert Paul Smith's wife Elinor Goulding Smith  It gives step-by-step directions on how to: play mumbly-peg; build a spool tank; make polly-noses; construct an indoor boomerang, etc  It was republished in 2010 by Tin House Books 

List of works
Essays and humor
Where Did You Go? Out  What Did You Do? Nothing (1957)Translations from the English (1958) Crank: A Book of Lamentations, Exhortations, Mixed Memories and Desires, All Hard Or Chewy Centers, No Creams(1962)How to Grow Up in One Piece (1963)Got to Stop Draggin’ that Little Red Wagon Around (1969)Robert Paul Smith’s Lost & Found (1973)

For children
Jack Mack, illus  Erik Blegvad (1960)When I Am Big, illus  Lillian Hoban (1965)Nothingatall, Nothingatall, Nothingatall, illus  Allan E  Cober (1965)How To Do Nothing With No One All Alone By Yourself, illus Elinor Goulding Smith (1958) Republished by Tin House Books (2010)

Novels
So It Doesn't Whistle (1941) The Journey (1943) Because of My Love (1946)The Time and the Place (1952)Where He Went: Three Novels (1958)

Theatre
The Tender Trap, by Max Shulman and Robert Paul Smith (first Broadway performance, 1954; Random House edition, 1955)

Verse
The Man with the Gold-headed Cane (1943)…and Another Thing (1959)

External links
An Interview, by Edward R Murrow on YouTube
Passage 8:
Joseph J  Sullivan (vaudeville)
Joseph J  Sullivan was a blackface comedian and acrobat in New York   He composed the song Where Did You Get That Hat? and first performed it in 1888   It was a great success and he performed it many times thereafter 
Passage 9:
Paul Vincent Carroll
Paul Vincent Carroll (10 July 1900 – 20 October 1968) was an Irish dramatist and writer of movie scenarios and television scripts 
Carroll was born in Blackrock, County Louth, Ireland and trained as a teacher at St Patrick's College, Dublin and settled in Glasgow in 1921 as a teacher  Several of his plays were produced by the Abbey Theatre in Dublin  He co-founded, with Grace Ballantine and Molly Urquhart, the Curtain Theatre Company in Glasgow 

Personal life
Carroll and his wife, clothing designer Helena Reilly, had three daughters; the youngest was actress Helena Carroll (1928–2013)  He also had a son, Brian Francis, born in 1945 Paul Vincent Carroll died at age 68 in Bromley, Kent England  He died in his sleep from heart failure He was a close friend of Patrick Kavanagh's in the 1920s 

List of works
The Watched Pot (unpublished)
The Things That are Caesar's (London, 1934)
Shadow and Substance (1937, won the Casement Award and the New York Drama Critics' Circle Award)
The White Steed (1939, won Drama Critics’ Circle Award)
The Strings Are False (1942, published as The Strings My Lord Are False, 1944)
Coggerers (1944, later renamed The Conspirators)
The Old Foolishness (1944)
The Wise Have Not Spoken (1947)
Saints and Sinners 1949
She Went by Gently (1953, *Irish Writing* magazine  Republished in 1955 in 44 Irish Short Stories edited by Devin A  Garrity)
Passage 10:
Yaya Soumahoro
Yaya Alfa Soumahoro (born 28 September 1989) is an Ivorian former professional footballer who plays as an attacking midfielder  
Having begun his career with Séwé Sports in his native country, he joined Thai club Muangthong United in 2008  His good performances earned him a move to K A A  Gent in 2010  He spent five and a half seasons with Gent but was plagued by recurring injuries throughout his time there  Following a half-season loan to Sint-Truidense V V , he returned to Muangthong United where did not feature  In 2018, he joined the Egyptian side Wadi Degla SC 

Early life
Soumahoro grew in the Ivorian capital Abidjan  He learned to play football in the streets and he decided to play for Séwé Sports  Soumahoro lost both parents at an early age and was taken care by a foster family 

Club career
Muangthong United
In 2008 Soumahoro moved to Thai Premier League side Muangthong United from Séwé Sports  He became a figurehead in this team, as he scored many goals and charmed the supporters with his numerous dribbles  He scored 32 goals in 72 games and helped the club win the Thai Premier League Championship Thai Division 1 League in 2008 and the Thai Premier League in 2009 

Gent
On 1 July 2010, Soumahoro joined Belgian club K A A  Gent on a three-year contract  On 22 August, he impressed in 3–1 league win against Charleroi scoring and assisting a goal each while also winning a penalty which Shlomi Arbeitman failed to convert  Four days later, he scored a goal to put Gent level on aggregate in a UEFA Europa League qualifying match against Feyenoord  His side went on to win 2–0 and qualify for the UEFA Europa League In September 2010, Soumahoro sustained a hamstring injury in a league match against Zulte Waregem and was substituted off after 73 minutes  It was announced he would be out of action for four weeks  In October 2010, he signed a one-year contract extension, tying him to the club until 2014 In April 2011, he received a three-match suspension In March 2012, it was announced Soumahoro would need to undergo surgery likely ruling him out for the rest of the 2012–13 season In October 2013, he signed a two-year contract extension with Gent, keeping him at the club until 2016 On 20 September 2015, Soumahoro made his first starting appearance after an injury layoff in a league match against Standard Liège  He had to leave the pitch after twisting his knee  With his contract set to expire at the end of the 2015–16 season Gent were looking to transfer Soumahoro  He did not take part in the club's winter training camp and instead trained with the reserves in wait of contract offers from other clubs  On 8 January 2016, Soumahoro rejected a move involving a 2 5-year deal to Cypriot club Anorthosis Famagusta  On 12 January, he joined Gent's league rivals Sint-Truidense V V  on loan until the end of the season 

After Gent
In June 2016 Soumahoro returned to former club Muangthong United  Six months later, his contract was terminated after he had not made any appearances due to injury problems 
In July 2018, he trialled with Belgian First Division B side K S V  Roeselare  He sustained an injury in a friendly match with Crawley Town and was not signed by Roeselare In October 2018, Soumahoro joined Egyptian Premier League side Wadi Degla SC as a free agent 

Honours
Muangthong United

Thai Division 1 League: 2008
Thai Premier League: 2009Gent

Belgian Pro League: 2014–15
Belgian Super Cup: 2015
Context 3: Passage 1:
Alexandru Cristea
Alexandru Cristea (1890–1942) was the composer of the music for "Limba Noastră", current national anthem of Moldova 

Biography
A choir director, a composer and music teacher  Taught at the  "Vasile Kormilov" music school (1928) with Gavriil Afanasiu and the  "Unirea" Conservatory (1927–1929) in Chişinău with Alexandru Antonovschi (canto), he was the master of vocal music from Chişinău (1920–1940), professor of music and conductor of the choir in the boys gymnasium "Ion Heliade Rădulescu" in București (1940–1941)  Later, between 1941 and 1942, he directed the choir at the "Queen Mother Elena" high school from Chişinău  In 1920, he was ordained as a deacon of the St  George Church in Chişinău, from 1927 to 1941 was a deacon holds the Metropolitan Cathedral of Chişinău 

Creation
His main creation is considered the music for "Limba Noastră", current national anthem of Moldova, composed in the lyrics of the priest-poet Alexei Mateevici  He was awarded the “Răsplata muncii pentru biserică” 
Passage 2:
Alonso Mudarra
Alonso Mudarra (c  1510 – April 1, 1580) was a Spanish composer of the Renaissance, and also played the vihuela, a guitar-shaped string instrument   He was an innovative composer of instrumental music as well as songs, and was the composer of the earliest surviving music for the guitar 

Biography
The place of his birth is not recorded, but he grew up in Guadalajara, and probably received his musical training there   He most likely went to Italy in 1529 with Charles V, in the company of the fourth Duke of the Infantado, Íñigo López de Mendoza, marqués de Santillana   When he returned to Spain he became a priest, receiving the post of canon at the cathedral in Seville in 1546, where he remained for the rest of his life   While at the cathedral, he directed all of the musical activities; many records remain of his musical activities there, which included hiring instrumentalists, buying and assembling a new organ, and working closely with composer Francisco Guerrero for various festivities   Mudarra died in Seville, and his sizable fortune was distributed to the poor of the city according to his will 

Mudarra wrote numerous pieces for the vihuela and the four-course guitar, all contained in the collection Tres libros de musica en cifras para vihuela ("Three books of music in numbers for vihuela"), which he published on December 7, 1546 in Seville   These three books contain the first music ever published for the four-course guitar, which was then a relatively new instrument  The second book is noteworthy in that it contains eight multi-movement works, all arranged by "tono", or mode 
Compositions represented in this publication include fantasias, variations (including a set on La Folia), tientos, pavanes and galliards, and songs  Modern listeners are probably most familiar with his Fantasia X, which has been a concert and recording mainstay for many years    The songs are in Latin, Spanish and Italian, and include romances, canciones (songs), villancicos, (popular songs) and sonetos (sonnets)   Another innovation was the use of different signs for different tempos:  slow, medium, and fast 

References and further reading
John Griffiths: "Alonso Mudarra", Grove Music Online ed  L  Macy (Accessed March 24, 2005), (subscription access)
Gustave Reese, Music in the Renaissance   New York, W W  Norton & Co , 1954   ISBN 0-393-09530-4
Guitar Music of the Sixteenth Century, Mel Bay Publications (transcribed by Keith Calmes)
The Eight Masterpieces of Alonso Mudarra, Mel Bay Publications (transcribed by Keith Calmes)
Fantasia VI in hypermedia (Shockwave Player required) at the BinAural Collaborative Hypertext
Jacob Heringman and Catherine King: "Alonso Mudarra songs and solos"  Magnatune com (http://www magnatune com/artists/albums/heringman-mudarra/hifi_play)

External links
Free scores by Alonso Mudarra in the Choral Public Domain Library (ChoralWiki)
Free scores by Alonso Mudarra at the International Music Score Library Project (IMSLP)
Passage 3:
Walter Robinson (composer)
Walter Robinson is an American composer of the late 20th century  He is most notable for his 1977 song Harriet Tubman, which has been recorded by folk musicians such as Holly Near, John McCutcheon, and others   He is also the composer of several operas 
Passage 4:
Peter Dodds McCormick
Peter Dodds McCormick (28 January 1833 – 30 October 1916) was an Australian schoolteacher and songwriter, known for composing the Australian national anthem, "Advance Australia Fair"  He published under the pseudonym Amicus, Latin for "friend" 

Early life
Peter Dodds McCormick was born to Peter McCormick and Janet (née Dodds) at Port Glasgow, Scotland in 1833 

Biography
Peter completed an apprenticeship as a joiner in Scotland before emigrating to Sydney (at that time the principal city of the British colony of New South Wales) on 21 February 1855  He initially worked as a joiner for "some years" McCormick spent most of his work life employed by the NSW Education Department  In 1863 he was appointed teacher-in charge at St Mary's National School  McCormick married Emily Boucher, a sewing teacher, on 16 July 1863, who died on 11 March 1866, aged 22  He remarried, to Emma Elizabeth Dening, on 22 December 1866  He also taught at the Presbyterian Denominational school in the Sydney suburb of Woolloomooloo in 1867  McCormick then moved to Dowling Plunkett Street Public School in 1878 where he remained until 1885 McCormick was heavily involved in the Scottish Presbyterian Church and was active in a number of community and benevolent organisations  He began his involvement with Sydney's St Stephen's Church as a stonemason, working on the now demolished Phillip Street Church (where Martin Place now stands)  The Rev Hugh Darling was so impressed with his singing on the job he asked him to join the choir  McCormick's musical ability led him to becoming the precentor of the Presbyterian Church of NSW, which gave him the opportunity to conduct very large massed choirs  He was also convenor of the Presbyterian Church Assembly's Committee on Psalmody Also a talented composer, he published around 30 patriotic and Scottish songs, some of which became very popular  Included in his collected works was "Advance Australia Fair", which was first performed in public by Andrew Fairfax at the St Andrew's Day concert of the Highland Society on 30 November 1878 "Advance Australia Fair" became quite a popular patriotic song  The Sydney Morning Herald described the music as bold and stirring, and the words "decidedly patriotic" – it was "likely to become a popular favourite"   Later under the pseudonym Amicus (which means 'friend' in Latin), he had the music and four verses published by W  H  Paling & Co  Ltd  The song quickly gained popularity and an amended version was sung by a choir of 10,000 at the inauguration of the Commonwealth of Australia on 1 January 1901  In 1907, the New South Wales Government awarded McCormick £100 for his patriotic composition which he registered for copyright in 1915 In a letter to R  B  Fuller Esq , dated 1 August 1913, McCormick described the circumstances that inspired him to pen the lyrics of his famous song:

One night I attended a great concert in the Exhibition Building, when all the National Anthems of the world were to be sung by a large choir with band accompaniment  This was very nicely done, but I felt very aggravated that there was not one note for Australia  On the way home in a bus, I concocted the first verse of my song & when I got home I set it to music  I first wrote it in the Tonic Sol-fa notation, then transcribed it into the Old Notation, & I tried it over on an instrument next morning, & found it correct  Strange to say there has not been a note of it altered since  Some alteration has been made in the wording, but the sense is the same  It seemed to me to be like an inspiration, & I wrote the words & music with the greatest ease 

Death
McCormick died in 1916, aged 83, at his home, Clydebank, in the Sydney suburb of Waverley and he was buried at Rookwood Cemetery  He had no children; he was survived by his second wife Emma  His obituary in the Sydney Morning Herald stated: "Mr  McCormick established a reputation with the patriotic song, Advance Australia Fair, which     has come to be recognised as something in the nature of an Australian National Anthem" The song was performed by massed bands at the Federal capital celebrations in Canberra in 1927   In 1984 it was formally declared as the Australian national anthem 
Passage 5:
Franz Schubert
Franz Peter Schubert (German: [fʁants ˈpeːtɐ ˈʃuːbɐt]; 31 January 1797 – 19 November 1828) was an Austrian composer of the late Classical and early Romantic eras  Despite his short life, Schubert left behind a vast oeuvre, including more than 600 secular vocal works (mainly lieder), seven complete symphonies, sacred music, operas, incidental music, and a large body of piano and chamber music  His major works include "Erlkönig" (D  328), the Piano Quintet in A major, D  667 (Trout Quintet), the Symphony No  8 in B minor, D  759 (Unfinished Symphony), the "Great" Symphony No  9 in C major, D  944, the String Quintet (D  956), the three last piano sonatas (D  958–960), the opera Fierrabras (D  796), the incidental music to the play Rosamunde (D  797), and the song cycles Die schöne Müllerin (D  795) and Winterreise (D  911) 
Born in the Himmelpfortgrund suburb of Vienna, Schubert showed uncommon gifts for music from an early age  His father gave him his first violin lessons and his elder brother gave him piano lessons, but Schubert soon exceeded their abilities  In 1808, at the age of eleven, he became a pupil at the Stadtkonvikt school, where he became acquainted with the orchestral music of Joseph Haydn, Wolfgang Amadeus Mozart, and Ludwig van Beethoven  He left the Stadtkonvikt at the end of 1813 and returned home to live with his father, where he began studying to become a schoolteacher  Despite this, he continued his studies in composition with Antonio Salieri and still composed prolifically  In 1821, Schubert was admitted to the Gesellschaft der Musikfreunde as a performing member, which helped establish his name among the Viennese citizenry  He gave a concert of his works to critical acclaim in March 1828, the only time he did so in his career  He died eight months later at the age of 31, the cause officially attributed to typhoid fever, but believed by some historians to be syphilis 
Appreciation of Schubert's music while he was alive was limited to a relatively small circle of admirers in Vienna, but interest in his work increased greatly in the decades following his death  Felix Mendelssohn, Robert Schumann, Franz Liszt, Johannes Brahms and other 19th-century composers discovered and championed his works  Today, Schubert is ranked among the greatest composers in the history of Western classical music and his work continues to be admired and widely performed 

Biography
Early life and education
Franz Peter Schubert was born in Himmelpfortgrund (now a part of Alsergrund), Vienna, Archduchy of Austria, on 31 January 1797, and baptized in the Catholic Church the following day  He was the twelfth child of Franz Theodor Florian Schubert (1763–1830) and Maria Elisabeth Katharina Vietz (1756–1812)  Schubert's immediate ancestors came originally from the province of Zuckmantel in Austrian Silesia  His father, the son of a Moravian peasant, was a well-known parish schoolmaster, and his school in Lichtental (in Vienna's ninth district) had numerous students in attendance  He came to Vienna from Zukmantel in 1784 and was appointed schoolmaster two years later  His mother was the daughter of a Silesian master locksmith and had been a housemaid for a Viennese family before marriage  Of Franz Theodor and Elisabeth's fourteen children (one of them illegitimate, born in 1783), nine died in infancy 

At the age of five, Schubert began to receive regular lessons from his father, and a year later he was enrolled at his father's school  Although it is not known exactly when he received his first musical instruction, he was given piano lessons by his brother Ignaz, but they lasted for a very short time as Schubert excelled him within a few months  Ignaz later recalled:

I was amazed when Franz told me, a few months after we began, that he had no need of any further instruction from me, and that for the future he would make his own way  And in truth his progress in a short period was so great that I was forced to acknowledge in him a master who had completely distanced and outstripped me, and whom I despaired of overtaking 
His father gave him his first violin lessons when he was eight years old, training him to the point where he could play easy duets proficiently  Soon after, Schubert was given his first lessons outside the family by Michael Holzer, organist and choirmaster of the local parish church in Lichtental  Holzer would often assure Schubert's father, with tears in his eyes, that he had never had such a pupil as Schubert, and the lessons may have largely consisted of conversations and expressions of admiration  Holzer gave the young Schubert instruction in piano and organ as well as in figured bass  According to Holzer, however, he did not give him any real instruction as Schubert would already know anything that he tried to teach him; rather, he looked upon Schubert with "astonishment and silence"  The boy seemed to gain more from an acquaintance with a friendly apprentice joiner who took him to a neighbouring pianoforte warehouse where Schubert could practise on better instruments  He also played viola in the family string quartet, with his brothers Ferdinand and Ignaz on first and second violin and his father on the cello  Schubert wrote his earliest string quartets for this ensemble Young Schubert first came to the attention of Antonio Salieri, then Vienna's leading musical authority, in 1804, when his vocal talent was recognized  In November 1808, he became a pupil at the Stadtkonvikt (Imperial Seminary) through a choir scholarship  At the Stadtkonvikt, he was introduced to the overtures and symphonies of Mozart, the symphonies of Joseph Haydn and his younger brother Michael Haydn, and the overtures and symphonies of Beethoven, a composer for whom he developed admiration  His exposure to these and other works, combined with occasional visits to the opera, laid the foundation for a broader musical education  One important musical influence came from the songs by Johann Rudolf Zumsteeg, an important composer of lieder  The precocious young student "wanted to modernize" Zumsteeg's songs, as reported by Joseph von Spaun, Schubert's friend  Schubert's friendship with Spaun began at the Stadtkonvikt and lasted throughout his short life  In those early days, the financially well-off Spaun furnished the impoverished Schubert with much of his manuscript paper In the meantime, Schubert's talent began to show in his compositions; Salieri decided to start training him privately in music theory and composition  According to Ferdinand, the boy's first composition for piano was a Fantasy for four hands; his first song, Klagegesang der Hagar, would be written a year later  Schubert was occasionally permitted to lead the Stadtkonvikt's orchestra, and it was the first orchestra he wrote for  He devoted much of the rest of his time at the Stadtkonvikt to composing chamber music, several songs, piano pieces and, more ambitiously, liturgical choral works in the form of a "Salve Regina" (D 27), a "Kyrie" (D 31), in addition to the unfinished "Octet for Winds" (D 72, said to commemorate the 1812 death of his mother), the cantata Wer ist groß? for male voices and orchestra (D 110, for his father's birthday in 1813), and his first symphony (D 82) 

Teacher at his father's school
At the end of 1813, Schubert left the Stadtkonvikt and returned home for teacher training at the St Anna Normal-hauptschule  In 1814, he entered his father's school as the teacher of the youngest pupils  For over two years, young Schubert endured severe drudgery  There were, however, compensatory interests even then: for example, Schubert continued to take private lessons in composition from Salieri, who gave him more actual technical training than any of his other teachers, before they parted ways in 1817 In 1814, Schubert met a young soprano named Therese Grob, daughter of a local silk manufacturer, and wrote several of his liturgical works (including a "Salve Regina" and a "Tantum Ergo") for her; she was also a soloist in the premiere of his Mass No  1 (D  105) in September 1814  Schubert wanted to marry her, but was hindered by the harsh marriage-consent law of 1815 requiring an aspiring bridegroom to show he had the means to support a family  In November 1816, after failing to gain a musical post in Laibach (now Ljubljana, Slovenia), Schubert sent Ms  Grob's brother Heinrich a collection of songs retained by the family into the twentieth century One of Schubert's most prolific years was 1815  He composed over 20,000 bars of music, more than half of which were for orchestra, including nine church works (despite his being an agnostic), a symphony, and about 140 Lieder  In that year, he was also introduced to Anselm Hüttenbrenner and Franz von Schober, who would become his lifelong friends  Another friend, Johann Mayrhofer, was introduced to him by Spaun in 1815 Throughout 1815, Schubert lived at home with his father  He continued to teach at the school and give private musical instruction, earning enough money for his basic needs, including clothing, manuscript paper, pens, and ink, but with little to no money left over for luxuries  Spaun was well aware that Schubert was discontented with his life at the schoolhouse, and was concerned for Schubert's development intellectually and musically  In May 1816, Spaun moved from his apartment in Landskrongasse (in the inner city) to a new home in the Landstraße suburb; one of the first things he did after he settled into the new home was to invite Schubert to spend a few days with him  This was probably Schubert's first visit away from home or school  Schubert's unhappiness during his years as a schoolteacher possibly showed early signs of depression, and it is virtually certain that Schubert suffered from cyclothymia throughout his life In 1989 the musicologist Maynard Solomon suggested that Schubert was erotically attracted to men, a thesis that has been heatedly debated  The musicologist and Schubert expert Rita Steblin has said that he was "chasing women"  The theory of Schubert's sexuality or "Schubert as Other" has continued to influence current scholarship  Biographer Lorraine Byrne Bodley is sceptical "   of Solomon’s "outing" of Schubert, saying this misunderstands the passionate "homosocial" friendships of 19th-century Europe "

Support from friends
Significant changes happened in 1816  Schober, a student and of good family and some means, invited Schubert to lodge with him at his mother's house  The proposal was particularly opportune, for Schubert had just made the unsuccessful application for the post of Kapellmeister at Laibach, and he had also decided not to resume teaching duties at his father's school  By the end of the year, he became a guest in Schober's lodgings  For a time, he attempted to increase the household resources by giving music lessons, but they were soon abandoned, and he devoted himself to composition  "I compose every morning, and when one piece is done, I begin another " During this year, he focused on orchestral and choral works, although he also continued to write Lieder  Much of this work was unpublished, but manuscripts and copies circulated among friends and admirers 
In early 1817, Schober introduced Schubert to Johann Michael Vogl, a prominent baritone twenty years Schubert's senior  Vogl, for whom Schubert went on to write a great many songs, became one of Schubert's main proponents in Viennese musical circles  Schubert also met Joseph Hüttenbrenner (brother of Anselm), who also played a role in promoting his music  These, and an increasing circle of friends and musicians, became responsible for promoting, collecting, and, after his death, preserving his work  Heinrich Anschütz wrote in his memoirs that Schubert was an active member of the so-called Unsinnsgesellschaft (Nonsenses Society), and various scholars agree with this 
In late 1817, Schubert's father gained a new position at a school in Rossau, not far from Lichtental  Schubert rejoined his father and reluctantly took up teaching duties there  In early 1818, he applied for membership in the prestigious Gesellschaft der Musikfreunde, intending to gain admission as an accompanist, but also so that his music, especially the songs, could be performed in the evening concerts  He was rejected on the basis that he was "no amateur", although he had been employed as a schoolteacher at the time and there were professional musicians already among the society's membership  However, he began to gain more notice in the press, and the first public performance of a secular work, an overture performed in February 1818, received praise from the press in Vienna and abroad Schubert spent the summer of 1818 as a music teacher to the family of Count Johann Karl Esterházy at their château in Zseliz (now Želiezovce, Slovakia)  The pay was relatively good, and his duties teaching piano and singing to the two daughters were relatively light, allowing him to compose happily  Schubert may have written his Marche Militaire in D major (D  733 no  1) for Marie and Caroline, in addition to other piano duets  On his return from Zseliz, he took up residence with his friend Mayrhofer During the early 1820s, Schubert was part of a close-knit circle of artists and students who had social gatherings together that became known as Schubertiads  Many of them took place in Ignaz von Sonnleithner's large apartment in the Gundelhof (Brandstätte 5, Vienna)  The tight circle of friends with which Schubert surrounded himself was dealt a blow in early 1820



ground_truth: St Patrick's College

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Who is Charles Willoughby, 10Th Baron Willoughby Of Parham's paternal grandmother?

The following are given passages.
Context 2: Passage 1:
John Willoughby, 8th Baron Willoughby of Parham
John Willoughby, 8th Baron Willoughby of Parham (1669–1678) was an English peer of the House of Lords He was born on 16 July 1669, the son of George Willoughby, 7th Baron Willoughby of Parham and Elizabeth Fiennes  On the death of his father in 1674, he succeeded as the 8th Baron Willoughby of Parham  However, he did not enjoy the title long, dying in early 1678  The barony was succeeded by his uncle, John Willoughby 
Passage 2:
Thomas Willoughby, 11th Baron Willoughby of Parham
Thomas Willoughby, 11th Baron Willoughby of Parham (c 1602–1691/92) was an English peer of the House of Lords  He was born in about 1602, son of Sir Thomas Willoughby and Mary Thornhaugh (Thornley), and grandson of Charles Willoughby, 2nd Baron Willoughby of Parham and Lady Margaret Clinton 

Family
He married Eleanor Whittle, heiress and daughter of Hugh and Mary Whittle, of Horwich on 22 February 1639 (or 1640)  After marriage they lived at Old Lord's Farm in Horwich, the area is still known as 'Old Lords Estate', the family inherited leases of a substantial amount of land from Horwich Moor to Anderton through the will of Nicolas Whittle of Horwich, 1597 The freeholder Sir Thomas Barton commissioned a map of 1620 which shows the Whittle holdings reflected in a large area of field names on the Rivington side of Horwich   These land holdings passed to the Shaw family, distributed in the will of Honourable Elizabeth Shaw in 1797  Thomas and Eleanor had two sons and three daughters, Hugh, the eldest son and Francis who in 1696 married Eleanor Rothwell of Haigh  Their daughters were Mary who married Samuel Greenhalgh of Adlington, Sarah and Abigail  Eleanor died aged 67 in 1665 

Military and Civic Life
Thomas was a staunch puritan and is closely associated with dissenting religious bodies  During the English Civil War, he was a major and fought on the side of the Parliamentarians  He saw action in the first and second battles at Middlewich in 1643, and at the Bolton Massacre in 1644 

School Governor
He was a governor of Rivington Grammar School during the Commonwealth and after Restoration from 1650 until 1691  The school lacked income between 1650 and 1660 so Thomas travelled to London, York and Durham for affidavits and trials and secured the rental income for the school  In the school's records he is noted as Gentleman of Horwich  He served as Chairman of Governors in 1651, 1653–54, 1653, 1670, 1676 and 1683 

Succession
Thomas was called to parliament by writ 19 May 1685  subsequent to there being no other heir known at the time of the death of his cousin, Charles Willoughby, 10th Baron Willoughby of Parham in 1679  He was called to parliament as the 11th Baron Willoughby of Parham 1547 creation, however, the writ had created a new Barony and with it a new title of 1st Baron Willoughby of Parham (1685 creation) The title would have been inherited by Henry Willoughby, grandson of Sir Ambrose Willoughby, and great-grandson of Charles, the 2nd Baron  However, Henry Willoughby had emigrated to Virginia and his whereabouts was not known  The right to the first barony created by letters patent in 1547 was later claimed by a descendant of Henry Willoughby as 16th Baron Willoughby of Parham in 1767 

Death
Thomas died in 1691 aged 89 and was buried under the chancel by the east window at the old Horwich Parish Church  Thomas was succeeded by his eldest son Hugh as the 12th Baron Willoughby of Parham, 2nd Baron of the 1685 creation 
Passage 3:
Charles Willoughby, 2nd Baron Willoughby of Parham
Charles Willoughby, 2nd Baron Willoughby of Parham (c 1536/7 – d  1610–12) was the only son of William Willoughby, 1st Baron Willoughby of Parham, and Elizabeth Heneage 

Family
Charles Willoughby, born about 1536/7, was the only son of William Willoughby, 1st Baron Willoughby of Parham, Suffolk, and his first wife, Elizabeth Heneage, daughter and heir of Sir Thomas Heneage of Hainton, Lincolnshire, by Katherine Skipwith, daughter of Sir John Skipwith of Ormsby 

Career
Willoughby matriculated at St  John's College, Cambridge at Easter, 1549  He succeeded to the title at his father's death on 30 July 1570  He held administrative offices in Lincolnshire, and was one of the commissioners who tried Philip Howard, 20th Earl of Arundel, for treason on 14 April 1589 Willoughby died between October 1610 and 26 October 1612  He was predeceased by his eldest son and heir, William, and the title passed to William's eldest son, who succeeded as 3rd Baron Willoughby of Parham 
The 3rd Baron's male heirs held the barony until Charles Willoughby, 10th Baron Willoughby of Parham (6 October 1650 – 9 December 1679), died without issue on 9 December 1679, when the title should have passed to the descendants of Sir Ambrose Willoughby, second son of the 2nd Baron  However Sir Ambrose Willoughby's descendants had emigrated to Virginia, and it was thought his male line was extinct  In consequence, the barony was wrongfully allowed to Thomas Willoughby (c 1602 – 29 February 1692), the fifth and youngest son of the 2nd Baron Charles Willoughby left his estate to his niece Elizabeth, who had married James Bertie, 1st Earl of Abingdon, ancestor of the present Earl of Abingdon 

Marriage and issue
Willoughby married Margaret Clinton  Margaret was the third daughter of Edward Clinton, 1st Earl of Lincoln, Lord High Admiral of England, by his first wife, Elizabeth Blount, the eldest daughter of Sir John Blount of Kinlet, Shropshire  Before marrying the Earl of Lincoln, Elizabeth Blount had been the wife of Gilbert Tailboys, 1st Baron Tailboys of Kyme (died 15 April 1530)  She was at one time the mistress of King Henry VIII, by whom she was the mother of his illegitimate son, Henry FitzRoy, 1st Duke of Richmond and Somerset By Margaret Clinton Willoughby had five sons, William, Sir Ambrose, Edward, Charles and Thomas, and three daughters, Katherine, Margaret and Anne  The eldest five, William, Ambrose, Edward, Katherine and Margaret, were named in the will of their grandmother, Katherine Skipwith, on 10 January 1572, and were all under 20 years of age at that time  Another son, Richard, is attributed to Charles Willoughby and was likely had out of wedlock 
Willoughby's second son, Ambrose, was one of the Queen's esquires of the body, and in early 1598 was involved in a brawl with Henry Wriothesley, 3rd Earl of Southampton  Ambrose Willoughby had ordered Southampton to leave the presence chamber where he was playing at primero after the Queen had retired for the evening  Southampton struck Willoughby, and 'Willoughby puld of some of his locke', for which the Queen gave Willoughby thanks, saying 'he had done better if he had sent him to the porters lodge, to see who durst have fetch him out'  There is a suggestion that underlying the altercation was something Willoughby had said which caused trouble between Southampton and his mistress, Elizabeth Vernon, one of the Queen's Maids of Honour  The Queen forbade Southampton to present himself at court, although he was soon allowed back Ambrose Willoughby is also mentioned in a letter of 17 June 1602 from John Chamberlain to Sir Dudley Carleton: "Gray Bridges hath hurt Ambrose Willoughby in the heade and body, for abusing his father and himself at a conference of arbiterment twixt them and Mistris Bridges" Ambrose Willoughby was knighted in 1603 

Footnotes
Passage 4:
George Willoughby, 7th Baron Willoughby of Parham
George Willoughby, 7th Baron Willoughby of Parham (1638–1674) was an English peer of the House of Lords He was born at Belvoir Castle, Leicestershire, England on 18 March 1639, the son of William Willoughby, 6th Baron Willoughby of Parham and Anne Carey  On 9 October 1666, he married Elizabeth Clinton, daughter of Henry Clinton and Jane Markham  George and Elizabeth had three children: John Willoughby, 8th Baron Willoughby of Parham, his successor; Anne, who died in infancy; and Elizabeth, who married Hon  James Bertie, son of James Bertie, 1st Earl of Abingdon  On the death of his father in 1673, he succeeded as the 7th Baron Willoughby of Parham  He died in Knaith, Lincolnshire, England in 1674, aged 35 
Passage 5:
Hugh Willoughby, 15th Baron Willoughby of Parham
Hugh, 15th Baron Willoughby of Parham  (1713 – 17 January 1765) was an English nobleman and hereditary peer of the House of Lords  He was born in 1713, the eldest son of Charles Willoughby, 14th Baron Willoughby of Parham and Hester, daughter of Henry Davenport of Little Lever and Darcy Lever, near Bolton  Hugh Willoughby's father died on 12 June 1715, aged 34, and the infant Hugh Willoughby became the 15th Baron Willoughby of Parham  He could not take his seat in the House of Lords until he reached the age of 21 

Life
Hugh Willoughby was born in Lancashire around 1711, he resided at Shaw Place Health Charnock  After his father's death Hugh Willoughby was placed under the joint guardianship of his mother and Reverend John Walker, the Presbyterian minister of Horwich chapel of ease  His mother, Hester Willoughby married James Walton of Wigan in 1717, soon after the death of her first husband, and under the terms of his will, forfeited joint guardianship  On his father's death, Hugh Willoughby was below the age of majority and was placed under the guardianship of Rev  John Walker, a Presbyterian minister  His mother, Ester daughter of Henry Davenport of Little Lever and Darcy Lever, Bolton had remarried to James Walton of Wigan in 1716, soon after the death of Charles Willoughby, 14th Baron Willoughby of Parham her late husband  Under the terms of her late husband's will, she forfeited joint guardianship  In 1717 Hugh Willoughby commenced school at Rivington Grammar School then a newly rebuilt school erected in 1714  The school was governed by local non-conformists  Hugh Willoughby in his early years attended the Rivington Unitarian Chapel  In this period Rivington Grammar school was having difficulty finding a non-conformist headmaster and it is believed this led to Hugh Willoughby being transferred to a Non-conformist school at Taunton, Somerset where he met a lifelong friend Israel Mauduit, the political pamphleteer  In 1732 he received the freedom of Dumfries in Scotland  His half-brother John Walton attended Glasgow University in 1736 and during the adult life of Hugh Willoughby all the Ministers at the Rivington Unitarian Chapel were from that University  His mother Ester Walton was interred at Horwich Parish Church on 16 Jan 1761 

Succession
In 1733, Hugh Willoughby was challenged by a rival claimant to the peerage, Henry Willoughby, a descendant of Sir Ambrose Willoughby, and the case was referred to the Chief Justice of the King's Bench  Sir Philip York (later Lord Hardwicke) championed Hugh Willoughby's cause 
As Henry Willoughby awaited his hearing, Hugh Willoughby spent his time travelling in Europe, his absence prevented the case being heard  However, on his return the case from Henry Willoughby was still not attended to by Hugh Willoughby or the Attorney General Hugh Willoughby gained a writ of summons to the House of Lords and took his seat on 1 February 1734, despite a caveat: his rival's petition was read to the house 

House of Lords
In his first year, he attended the Lords without missing a session  In the years 1735 to 1739, he was noted for his non-attendance, then after 1742 attended without fail  In addition to his duties in the Lords he was elected Vice-President of the Royal Society in 1752 and President of the Society of Antiquaries in 1754  Other positions included Vice-President of the Society for the Encouragement of Fine Arts, Trustee for the British Museum and a Commissioner on the Board of Longitude  From 1758 until 1762 he was governor at Rivington Grammar School and was a trustee of Blackrod Grammar School from 1736 although he did not attend meetings  He aided the foundation of the Warrington Academy Hugh Willoughby chaired a committee of the House of Lords a year after taking his seat  Philip Yorke wrote that Willoughby was "eminently useful in the dispatch of the ordinary business" of the Lords, and "had a thorough and accurate knowledge of the forms and usage of Parliament"  He played a significant role in committee work between 1739–40  In 1758, with twenty years' continuous experience, he took over the position of Chairman of Committees of the House of Lords on a temporary basis following the illness of the 8th Earl of Warwick  By 12 November 1759, he was the permanent Chairman of Committees, a position he held until his death  During his lifetime he had served 58 times as Chair of Committees and served on 227 select committees In 1744 he was elected a Fellow of the Royal Society and served as their vice-president on two occasions 

Death
Hugh Willoughby died without issue on 22 January 1765 in London  Though a prominent dissenter, he was buried in the chancel of an earlier Horwich Church on 9 February 1765, the Church was rebuilt further away from the road in 1830, his grave is now within the current Parish Church graveyard   He left his distant cousin, Henry Willoughby, heir to the barony, and property in Rivington and Anglezarke to his sisters, Helen Roscoe and Elizabeth Shaw  In memory of the family there is a monument at Rivington Unitarian Chapel  The Willoughby pew, bearing its original brass nameplate on the south wall of the chapel has been preserved and is noted for its large ornate canopy with panelled reredos and a moulded and carved cornice in the classical style 
Passage 6:
Henry Willoughby, 16th Baron Willoughby of Parham
Henry Willoughby, 16th Baron Willoughby of Parham (1696 – 29 January 1775) was an English peer of the House of Lords On the death of Charles Willoughby, 10th Baron Willoughby of Parham, who died without male heir on 9 December 1679, the title should have passed to the descendants of Sir Ambrose Willoughby of Matson, second son of Charles Willoughby, 2nd Baron Willoughby of Parham who died in 1603  The title instead had passed to the nephew of Sir Ambrose, Thomas Willoughby, who became the 11th baron  Sir Ambrose Willoughby had two sons, Edward and Richard  Edward's son was Henry, who emigrated to the Colony of Virginia in 1676, then one of the  Thirteen Colonies, whose whereabouts were unknown  Henry died in Hull Creek, Virginia on 26 November 1685, aged 59  His son, also Henry, was then aged 20  Henry married Elizabeth, daughter of William Pigeon of Stepney, with whom he had a son who was also named Henry Henry Willoughby had twice been master of the Company of Brewers in London, a Justice of the Peace and colonel of the 2nd Regiment of Militia of the Tower Hamlets  Henry Willoughby married Susannah, daughter Robert Gresswell of Middlesex and had a daughter, Elizabeth who married John Halsey of Tower Hill Henry Willoughby first petitioned for his seat in the House of Lords in 1733, his case was not heard  His petition was accepted after the death of Hugh Willoughby, 15th Baron Willoughby of Parham and he took his seat on 25 April 1767 to become the 16th baron  Henry Willoughby died on 29 January 1775, aged 79, without male heir and the title passed to his nephew 

Notes
The Records of a Lancashire Family - Shaw, 1940
Burke John, A General and Heraldic Dictionary of the Peerage of England, Ireland and Scotland 1831 
Passage 7:
John Willoughby, 9th Baron Willoughby of Parham
John Willoughby, 9th Baron Willoughby of Parham (1643–1678) was an English peer of the House of Lords He was born in Stanstead Bury, near Stanstead Abbotts, Hertfordshire, England on 29 December 1643, the son of William Willoughby, 6th Baron Willoughby of Parham and Anne Carey  He married Anne Bolterton (died circa 3 October 1683)  On the death of his nephew John in early 1678, he succeeded as the 9th Baron Willoughby of Parham  However, a few months later he died without issue in September 1678  The barony was succeeded by his younger brother, Charles Willoughby 
Passage 8:
Charles Willoughby, 10th Baron Willoughby of Parham
Charles Willoughby, 10th Baron Willoughby of Parham was an English peer of the House of Lords He succeeded to the title in September 1678 on the death of John Willoughby, 9th Baron Willoughby of Parham  Charles Willoughy was the male heir and descendant from the first creation of the barony that commenced with Sir William Willoughby 1st Baron Willoughby of Parham in 1547 and was the last male heir of the eldest line  Charles Willoughby married Marie daughter of Sir Beaumont Dixie, Bart of Bosworth  He died without a male heir on 9 December 1679  The first creation by letters patent stipulated the title must pass to heirs male of Sir William Willoughby 1st Baron Willoughby of Parham 
Charles Willoughby, 10th Baron Willoughby of Parham died without issue and left his estate to his niece Elizabeth, who had married James Bertie, 1st Earl of Abingdon 

Second Creation
On the death of the 10th Lord Willoughby, the title should have passed to the line of the next son of Charles 2nd Lord Willoughby, who was Sir Ambrose Willoughby, and then through his line to the eldest son, Edward Willoughby, and then Henry; however the family had emigrated to Virginia and it was believed this male line was extinct  The title passed instead through the line of Thomas the youngest son of Charles Willoughby, 2nd Baron Willoughby of Parham and his sons to Thomas Willoughby, who had married Eleanor Whittle, daughter of Hugh Whittle, a staunch Presbyterian yeoman of Horwich, Lancashire, England  The Writ of Summons by the monarch to the hereditary peerage in parliament of the successor created a second Barony of Parham in fee and inheritable by his heirs general 
Passage 9:
Henry Willoughby, 4th Baron Willoughby of Parham
Henry Willoughby, 4th Baron Willoughby of Parham (1612–1617) was an English peer of the House of Lords He was born in about November 1612, the son of William Willoughby, 3rd Baron Willoughby of Parham, and Frances Manners, daughter of John Manners, 4th Earl of Rutland  On the death of his father in 1617, he succeeded as the 4th Baron Willoughby of Parham  However, he did not enjoy the title long, dying in infancy on about 14 October 1617  The barony was succeeded by his brother, Francis Willoughby 
Passage 10:
William Willoughby, 6th Baron Willoughby of Parham
William Willoughby, 6th Lord Willoughby (c  1616 – 10 April 1673) was an English landowner and politician who sat in the House of Commons and later in the House of Lords  In 1666 he inherited the peerage of Baron Willoughby of Parham, and from 1667 he served as Governor of Barbados (1667 – 1673) Willoughby was the third son of William Willoughby, 3rd Baron Willoughby of Parham, and his wife Lady Frances Manners, daughter of John Manners, 4th Earl of Rutland  He was educated at Eton College from 1623 to 1624  In 1636 he travelled abroad in Italy  He was a student of the Middle Temple in 1652 In 1660 Willoughby was elected a Member of Parliament for Midhurst in the Convention Parliament  He was commissioner for plantations from December 1660 until 1667  On the death in 1666 of his brother Francis Willoughby, 5th Lord Willoughby of Parham, who died without a male heir, he succeeded to his hereditary peerage and to his seat in the House of Lords  From 1667 until his death he was Governor of Barbados, revisiting England occasionally and retaining his other offices 
Willoughby died in Barbados in 1673, and his body was brought back to Lincolnshire, to be buried at Knaith Willoughby married Anne, daughter of Philip Cary (MP for Woodstock) of Aldenham, Hertfordshire, by 1637  They had a daughter, Frances, who married Charles Kirkhoven, 1st Earl of Bellomont 
Context 3:  Schubert and four of his friends were arrested by the Austrian police, who (in the aftermath of the French Revolution and Napoleonic Wars) were on their guard against revolutionary activities and suspicious of any gathering of youth or students  One of Schubert's friends, Johann Senn, was put on trial, imprisoned for over a year, and then permanently forbidden to enter Vienna  The other four, including Schubert, were "severely reprimanded", in part for "inveighing against [officials] with insulting and opprobrious language"  While Schubert never saw Senn again, he did set some of his poems, Selige Welt (D  743) and Schwanengesang (D 744), to music  The incident may have played a role in a falling-out with Mayrhofer, with whom he was living at the time Schubert, who was only a little more than five feet tall, was nicknamed "Schwammerl" by his friends, which Gibbs describes as translating to "Tubby" or "Little Mushroom"  "Schwamm" is German (in the Austrian and Bavarian dialects) for mushroom; the ending "-erl" makes it a diminutive  Gibbs also claims he may have occasionally drunk to excess, noting that references to Schubert's heavy drinking "    come not only in later accounts, but also in documents dating from his lifetime "

Musical maturity
The compositions of 1819 and 1820 show a marked advance in development and maturity of style  The unfinished oratorio Lazarus (D  689) was begun in February; later followed, among some smaller works, by the hymn "Der 23  Psalm" (D  706), the octet "Gesang der Geister über den Wassern" (D  714), the Quartettsatz in C minor (D  703), and the Wanderer Fantasy in C major for piano (D  760)  In 1820, two of Schubert's operas were staged: Die Zwillingsbrüder (D  647) appeared at the Theater am Kärntnertor on 14 June, and Die Zauberharfe (D  644) appeared at the Theater an der Wien on 21 August  Hitherto, his larger compositions (apart from his masses) had been restricted to the amateur orchestra at the Gundelhof (Brandstätte 5, Vienna), a society which grew out of the quartet-parties at his home  Now he began to assume a more prominent position, addressing a wider public  Publishers, however, remained distant, with Anton Diabelli hesitantly agreeing to print some of his works on commission  The first seven opus numbers (all songs) appeared on these terms; then the commission ceased, and he began to receive parsimonious royalties  The situation improved somewhat in March 1821 when Vogl performed the song "Erlkönig" (D  328) at a concert that was extremely well received  That month, Schubert composed a Variation on a Waltz by Diabelli (D 718), being one of the fifty composers who contributed to the Vaterländischer Künstlerverein publication 

The production of the two operas turned Schubert's attention more firmly than ever in the direction of the stage, where, for a variety of reasons, he was almost completely unsuccessful  All in all, he embarked on twenty stage projects, each of them failures that were quickly forgotten  In 1822, Alfonso und Estrella was rejected, partly owing to its libretto (written by Schubert's friend Franz von Schober)  In 1823, Fierrabras (D 796) was rejected: Domenico Barbaia, impresario for the court theatres, largely lost interest in new German opera due to the popularity of Rossini and the Italian operatic style, and the failure of Carl Maria von Weber's Euryanthe  Die Verschworenen (The Conspirators, D 787) was prohibited by the censor (apparently because of its title), and Rosamunde, Fürstin von Zypern (D 797) was withdrawn after two nights, owing to the poor quality of the play for which Schubert had written incidental music Despite his operatic failures, Schubert's reputation was growing steadily on other fronts  In 1821, the Gesellschaft der Musikfreunde finally accepted him as a performing member, and the number of performances of his music grew remarkably  These performances helped Schubert's reputation grow rapidly among the members of the Gesellschaft and established his name  Some of the members of the Gesellschaft, most notably Ignaz von Sonnleithner and his son Leopold von Sonnleithner, had a sizeable influence on the affairs of the society, and as a result of that and of Schubert's growing reputation, his works were included in three major concerts of the Gesellschaft in 1821  In April, one of his male-voice quartets was performed, and in November, his Overture in E minor (D  648) received its first public performance; at a different concert on the same day as the premiere of the Overture, his song Der Wanderer (D  489) was performed In 1822, Schubert made the acquaintance of both Weber and Beethoven, but little came of it in either case; however, Beethoven is said to have acknowledged the younger man's gifts on a few occasions  On his deathbed, Beethoven is said to have looked into some of the younger man's works and exclaimed: "Truly, the spark of divine genius resides in this Schubert!" Beethoven also reportedly predicted that Schubert "would make a great sensation in the world," and regretted that he had not been more familiar with him earlier; he wished to see his operas and works for piano, but his severe illness prevented him from doing so 

Last years and masterworks
Despite his preoccupation with the stage, and later with his official duties, Schubert wrote much music during these years  He completed the Mass in A-flat major, (D  678) in 1822, and later that year embarked suddenly on a work which more decisively than almost any other in those years showed his maturing personal vision, the Symphony in B minor, known as the Unfinished Symphony (D  759)  The reason he left it unfinished – after writing two movements and sketches some way into a third – continues to be discussed and written about, and it is also remarkable that he did not mention it to any of his friends, even though, as Brian Newbould notes, he must have felt thrilled by what he was achieving  In 1823, Schubert wrote his first large-scale song cycle, Die schöne Müllerin (D  795), setting poems by Wilhelm Müller  This series, together with the later cycle Winterreise (D  911, also setting texts of Müller in 1827) is widely considered one of the pinnacles of Lieder  He also composed the song Du bist die Ruh' (You are rest and peace, D  776) during this year  Also in that year, symptoms of syphilis first appeared In 1824, he wrote the Variations in E minor for flute and piano; Trockne Blumen, a song from the cycle Die schöne Müllerin; and several string quartets  He also wrote the Sonata in A minor for arpeggione and piano (D  821) at the time when there was a minor craze over that instrument  In the spring of that year, he wrote the Octet in F major (D  803), a sketch for a "Grand Symphony," and in the summer went back to Zseliz  There he became attracted to Hungarian musical idiom and wrote the Divertissement à la hongroise in G minor for piano duet (D  818) and the String Quartet in A minor Rosamunde (D  804)  It has been said that he held a hopeless passion for his pupil, the Countess Caroline Esterházy, but the only work that bears a dedication to her is his Fantasia in F minor for piano duet (D  940)  This dedication, however, can only be found in the first edition and not in Schubert's autograph  His friend Eduard von Bauernfeld penned the following verse, which appears to reference Schubert's unrequited sentiments:

The setbacks of previous years were compensated by the prosperity and happiness of 1825  Publication had been moving more rapidly, the stress of poverty was for a time lightened, and in the summer he had a pleasant holiday in Upper Austria where he was welcomed with enthusiasm  It was during this tour that he produced the seven-song cycle Fräulein am See, based on Walter Scott's The Lady of the Lake, and including "Ellens Gesang III" ("Hymn to the Virgin") (D  839, Op  52, No  6); the lyrics of Adam Storck's German translation of the Scott poem are now frequently replaced by the full text of the traditional Roman Catholic prayer Hail Mary (Ave Maria in Latin), but for which the Schubert melody is not an original setting  The original only opens with the greeting "Ave Maria", which also recurs only in the refrain  In 1825, Schubert also wrote the Piano Sonata in A minor (D 845, first published as op  42), and began the Symphony in C major (Great C major, D  944), which was completed the following year 

From 1826 to 1828, Schubert resided continuously in Vienna, except for a brief visit to Graz, Austria, in 1827  In 1826, he dedicated a symphony (D  944, that later came to be known as the Great C major) to the Gesellschaft der Musikfreunde and received an honorarium in return  The String Quartet No  14 in D minor (D  810), with the variations on Death and the Maiden, was written during the winter of 1825–1826, and first played on 25 January 1826  Later in the year came the String Quartet No  15 in G major, (D 887, first published as op  161), the Rondo in B minor for violin and piano (D  895), Rondeau brillant, and the Piano Sonata in G major, (D 894, first published as Fantasie in G, op  78)  He also produced in 1826 three Shakespearian songs, of which "Ständchen" (D  889) and "An Sylvia" (D  891) were allegedly written on the same day, the former at a tavern where he broke his afternoon's walk, the latter on his return to his lodging in the evening The works of his last two years reveal a composer entering a new professional and compositional stage  Although parts of Schubert's personality were influenced by his friends, he nurtured an intensely personal dimension in solitude; it was out of this dimension that he wrote his greatest music  The death of Beethoven affected Schubert deeply, and may have motivated Schubert to reach new artistic peaks  In 1827, Schubert wrote the song cycle Winterreise (D  911), the Fantasy in C major for violin and piano (D  934, first published as op  post  159), the Impromptus for piano, and the two piano trios (the first in B-flat major (D  898), and the second in E-flat major, (D  929); in 1828 the cantata Mirjams Siegesgesang (Victory Song of Miriam, D 942) on a text by Franz Grillparzer, the Mass in E-flat major (D  950), the Tantum Ergo (D  962) in the same key, the String Quintet in C major (D  956), the second "Benedictus" to the Mass in C major (D  961), the three final piano sonatas (D  958, D  959, and D  960), and the collection 13 Lieder nach Gedichten von Rellstab und Heine for voice and piano, also known as Schwanengesang (Swan-song, D  957)  (This collection – which includes settings of words by Heinrich Heine, Ludwig Rellstab, and Johann Gabriel Seidl – is not a true song cycle like Die schöne Müllerin or Winterreise ) The Great C major symphony is dated 1828, but Schubert scholars believe that this symphony was largely written in 1825–1826 (being referred to while he was on holiday at Gastein in 1825—that work, once considered lost, is now generally seen as an early stage of his C major symphony) and was revised for prospective performance in 1828  The orchestra of the Gesellschaft reportedly read through the symphony at a rehearsal, but never scheduled a public performance of it  The reasons continue to be unknown, although the difficulty of the symphony is the possible explanation  In the last weeks of his life, he began to sketch three movements for a new Symphony in D major (D 936A); In this work, he anticipates Mahler's use of folksong-like harmonics and bare soundscapes  Schubert expressed the wish, were he to survive his final illness, to further develop his knowledge of harmony and counterpoint, and had actually made appointments for lessons with the counterpoint master Simon Sechter On 26 March 1828, the anniversary of Beethoven's death, Schubert gave, for the only time in his career, a public concert of his own works  The concert was a success popularly and financially, even though it would be overshadowed by Niccolò Paganini's first appearances in Vienna shortly after 

Final illness and death
In the midst of this creative activity, his health deteriorated  By the late 1820s, Schubert's health was failing and he confided to some friends that he feared that he was near death  In the late summer of 1828, he saw the physician Ernst Rinna, who may have confirmed Schubert's suspicions that he was ill beyond cure and likely to die soon  Some of his symptoms matched those of mercury poisoning (mercury was then a common treatment for syphilis, again suggesting that Schubert suffered from it)  At the beginning of November, he again fell ill, experiencing headaches, fever, swollen joints, and vomiting  He was generally unable to retain solid food and his condition worsened  Five days before Schubert's death, his friend the violinist Karl Holz and his string quartet visited to play for him  The last musical work he had wished to hear was Beethoven's String Quartet No  14 in C-sharp minor, Op  131; Holz commented: "The King of Harmony has sent the King of Song a friendly bidding to the crossing" Schubert died in Vienna, aged 31, on 19 November 1828, at the apartment of his brother Ferdinand  The cause of his death was officially diagnosed as typhoid fever, though other theories have been proposed, including the tertiary stage of syphilis  Although there are accounts by his friends that indirectly imply that he was syphilitic, the symptoms of his final illness do not correspond with tertiary syphilis  Six weeks before his death, he walked 42 miles in three days, ruling out musculoskeletal syphilis  In the month of his death, he composed his last work, "Der Hirt Auf Den Felsen", making neurosyphilis unlikely  Finally, meningo-vascular syphilis is unlikely because it presents a progressive stroke-like picture, and Schubert had no neurological manifestation until his final delirium, which started only two days before his death  This, and the fact that his final illness was characterized by gastrointestinal symptoms (namely vomiting), led Robert L  Rold to argue that his final illness was a gastrointestinal one, like salmonella or indeed typhus  Eva M  Cybulska goes further and says that Schubert's syphilis is a conjecture  His multi-system signs and symptoms, she says, could point at a number of different illness such as leukaemia, anaemia, or Hashimoto's thyroiditis, and that many tell-tale signs of syphilis — chancre, mucous plaques, rash on the thorax, pupil abnormality, dysgraphia — were absent  She argues that the syphilis diagnosis originated with Schubert's biographer Otto Deutsch in 1907, based on the aforementioned indirect references by his friends, and uncritically repeated ever since It was near the grave of Beethoven, whom he had admired all his life, that Schubert was buried at his own request, in the village cemetery of Währing on the edge of the Vienna Woods  A year earlier he had served as a torchbearer at Beethoven's funeral 
In 1872, a memorial to Franz Schubert was erected in Vienna's Stadtpark  In 1888, both Schubert's and Beethoven's graves were moved to the Zentralfriedhof where they can now be found next to those of Johann Strauss II and Johannes Brahms  Anton Bruckner was present at both exhumations, and he reached into both coffins and held the revered skulls in his hands  The cemetery in Währing was converted into a park in 1925, called the Schubert Park, and his former grave site was marked by a bust  His epitaph, written by his friend, the poet Franz Grillparzer, reads: Die Tonkunst begrub hier einen reichen Besitz, aber noch viel schönere Hoffnungen ("The art of music has here interred a precious treasure, but yet far fairer hopes") 

Music
Schubert was remarkably prolific, writing over 1,500 works in his short career  His compositional style progressed rapidly throughout his short life  The largest number of his compositions are songs for solo voice and piano (roughly 630)  Schubert also composed a considerable number of secular works for two or more voices, namely part songs, choruses and cantatas  He completed eight orchestral overtures and seven complete symphonies, in addition to fragments of six others  While he composed no concertos, he did write three concertante works for violin and orchestra  Schubert wrote a large body of music for solo piano, including eleven incontrovertibly completed sonatas and at least eleven more in varying states of completion, numerous miscellaneous works and many short dances, in addition to producing a large set of works for piano four hands  He also wrote over fifty chamber works, including some fragmentary works  Schubert's sacred output includes seven masses, one oratorio and one requiem, among other mass movements and numerous smaller compositions  He completed only eleven of his twenty stage works 

Style
In July 1947 the Austrian composer Ernst Krenek discussed Schubert's style, abashedly admitting that he had at first "shared the wide-spread opinion that Schubert was a lucky inventor of pleasing tunes     lacking the dramatic power and searching intelligence which distinguished such 'real' masters as J  S  Bach or Beethoven"  Krenek wrote that he reached a completely different assessment after a close study of Schubert's pieces at the urging of his friend and fellow composer Eduard Erdmann  Krenek pointed to the piano sonatas as giving "ample evidence that [Schubert] was much more than an easy-going tune-smith who did not know, and did not care, about the craft of composition " Each sonata then in print, according to Krenek, exhibited "a great wealth of technical finesse" and revealed Schubert as "far from satisfied with pouring his charming ideas into conventional moulds; on the contrary he was a thinking artist with a keen appetite for experimentation "

Instrumental music, stage works and church music
That "appetite for experimentation" manifests itself repeatedly in Schubert's output in a wide variety of forms and genres, including opera, liturgical music, chamber and solo piano music, and symphonic works  Perhaps most familiarly, his adventurousness is reflected in his notably original sense of modulation; for example, the second movement of the String Quintet (D  956), which is in E major, features a central section in the distant key of F minor  It also appears in unusual choices of instrumentation, as in the Sonata in A minor for arpeggione and piano (D  821), or the unconventional scoring of the Trout Quintet (D  667) for piano, violin, viola, cello, and double bass, whereas conventional piano quintets are scored for piano and string quartet 

Although Schubert was clearly influenced by the Classical sonata forms of Beethoven and Mozart, his formal structures and his developments tend to give the impression more of melodic development than of harmonic drama  This combination of Classical form and long-breathed Romantic melody sometimes lends them a discursive style: his Great C Major Symphony was described by Robert Schumann as running to "heavenly lengths" 

Lieder and art songs
It was in the genre of the Lied that Schubert made his most indelible mark  Leon Plantinga remarks that "in his more than six hundred Lieder he explored and expanded the potentialities of the genre, as no composer before him " Prior to Schubert's influence, Lieder tended toward a strophic, syllabic treatment of text, evoking the folksong qualities engendered by the stirrings of Romantic nationalism 

Among Schubert's treatments of the poetry of Goethe, his settings of "Gretchen am Spinnrade" (D  118) and "Der Erlkönig" (D  328) are particularly striking for their dramatic content, forward-looking uses of harmony, and use of eloquent pictorial keyboard figurations, such as the depiction of the spinning wheel and treadle in the piano in "Gretchen" and the furious and ceaseless gallop in "Erlkönig"  He composed music using the poems of myriad poets, with Goethe, Mayrhofer, and Schiller the most frequent, and others, including Heinrich Heine, Friedrich Rückert, and Joseph Freiherr von Eichendorff  Of particular note are his two song cycles on the poems of Wilhelm Müller, Die schöne Müllerin and Winterreise, which helped to establish the genre and its potential for musical, poetic, and almost operatic dramatic narrative  His last collection of songs, published in 1828 after his death, Schwanengesang, is also an innovative contribution to German Lieder literature, as it features poems by different poets, namely Ludwig Rellstab, Heine, and Johann Gabriel Seidl  The Wiener Theaterzeitung, writing about Winterreise at the time, commented that it was a work that "none can sing or hear without being deeply moved" Antonín Dvořák wrote in 1894 that Schubert, whom he considered one of the truly great composers, was clearly influential on shorter works, especially Lieder and shorter piano works: "The tendency of the romantic school has been toward short forms, and although Weber helped to show the way, to Schubert belongs the chief credit of originating the short models of piano forte pieces which the romantic school has preferably cultivated     Schubert created a new epoch with the Lied     All other songwriters have followed in his footsteps "

Publication – catalogue
When Schubert died he had around 100 opus numbers published, mainly songs, chamber music and smaller piano compositions



ground_truth: Lady Frances Manners

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Where was the place of death of the composer of song Gretchen Am Spinnrade?

The following are given passages.
Context 3:  Publication of smaller pieces continued (including opus numbers up to 173 in the 1860s, 50 instalments with songs published by Diabelli and dozens of first publications Peters), but the manuscripts of many of the longer works, whose existence was not widely known, remained hidden in cabinets and file boxes of Schubert's family, friends, and publishers  Even some of Schubert's friends were unaware of the full scope of what he wrote, and for many years he was primarily recognized as the "prince of song", although there was recognition of some of his larger-scale efforts  In 1838 Robert Schumann, on a visit to Vienna, found the dusty manuscript of the C major Symphony (D  944) and took it back to Leipzig where it was performed by Felix Mendelssohn and celebrated in the Neue Zeitschrift  An important step towards the recovery of the neglected works was the journey to Vienna which the music historian George Grove and the composer Arthur Sullivan made in October 1867  The travellers unearthed the manuscripts of six of the symphonies, parts of the incidental music to Rosamunde, the Mass No  1 in F major (D  105), and the operas Des Teufels Lustschloss (D  84), Fernardo (D  220), Der vierjährige Posten (D  190), and Die Freunde von Salamanka (D  326), and several other unnamed works  With these discoveries, Grove and Sullivan were able to inform the public of the existence of these works; in addition, they were able to copy the fourth and sixth symphonies, the Rosamunde incidental music, and the overture to Die Freunde von Salamanka  This led to more widespread public interest in Schubert's work 

Complete editions
From 1884 to 1897, Breitkopf & Härtel published Franz Schubert's Works, a critical edition including a contribution made – among others – by Johannes Brahms, editor of the first series containing eight symphonies  The publication of the Neue Schubert-Ausgabe by Bärenreiter started in the second half of the 20th century 

Deutsch catalogue
Since relatively few of Schubert's works were published in his lifetime, only a small number of them have opus numbers assigned, and even in those cases, the sequence of the numbers does not give a good indication of the order of composition  Austrian musicologist Otto Erich Deutsch (1883–1967) is known for compiling the first comprehensive catalogue of Schubert's works  This was first published in English in 1951 (Schubert Thematic Catalogue) and subsequently revised for a new edition in German in 1978 (Franz Schubert: Thematisches Verzeichnis seiner Werke in chronologischer Folge – Franz Schubert: Thematic Catalogue of his Works in Chronological Order) 

Numbering issues
Confusion arose quite early over the numbering of Schubert's late symphonies  Schubert's last completed symphony, the Great C major D 944, was assigned the numbers 7, 8, 9 and 10, depending on publication  Similarly the Unfinished D 759 has been indicated with the numbers 7, 8, and 9 The order usually followed for these late symphonies by English-language sources is:

No  7: E major, D 729
No  8: B minor, D 759 Unfinished
No  9: C major, D 944 Great C major
No  10: D major, D 936AAn even broader confusion arose over the numbering of the piano sonatas, with numbering systems ranging from 15 to 23 sonatas 

Instruments
Among pianos Schubert had access to were a Benignus Seidner piano (now displayed at the Schubert Geburtshaus in Vienna) and an Anton Walter & Sohn piano (today in the collection of the Vienna Kunsthistorisches Museum)  Schubert was also familiar with instruments by Viennese piano builder Conrad Graf 

Recognition
A feeling of regret for the loss of potential masterpieces caused by Schubert's early death at age 31 was expressed in the epitaph on his large tombstone written by Grillparzer: "Here music has buried a treasure, but even fairer hopes " Some prominent musicians share a similar view, including the pianist Radu Lupu, who said: "[Schubert] is the composer for whom I am really most sorry that he died so young      Just before he died, when he wrote his beautiful two-cello String Quintet in C, he said very modestly that he was trying to learn a little more about counterpoint, and he was perfectly right  We'll never know in what direction he was going or would have gone " However, others have expressed disagreement with this early view  For instance, Robert Schumann said: "It is pointless to guess at what more [Schubert] might have achieved  He did enough; and let them be honoured who have striven and accomplished as he did", and the pianist András Schiff said that: "Schubert lived a very short life, but it was a very concentrated life  In 31 years, he lived more than other people would live in 100 years, and it is needless to speculate what could he have written had he lived another 50 years  It's irrelevant, just like with Mozart; these are the two natural geniuses of music "

The Wiener Schubertbund, one of Vienna's leading choral societies, was founded in 1863, whilst the Gründerzeit was taking place  The Schubertbund quickly became a rallying point for schoolteachers and other members of the Viennese middle class who felt increasingly embattled during the Gründerzeit and the aftermath of the Panic of 1873  In 1872, the dedication of the Schubert Denkmal, a gift to the city from Vienna's leading male chorus, the Wiener Männergesang-Verein, took place; the chorus performed at the event  The Denkmal was designed by Austrian sculptor Carl Kundmann and is located in Vienna's Stadtpark 
Schubert's chamber music continues to be popular  In a survey conducted by the ABC Classic FM radio station in 2008, Schubert's chamber works dominated the field, with the Trout Quintet ranked first, the String Quintet in C major ranked second, and the Notturno in E-flat major for piano trio ranked third  Furthermore, eight more of his chamber works were among the 100 ranked pieces: both piano trios, the String Quartet No  14 (Death and the Maiden), the String Quartet No  15, the Arpeggione Sonata, the Octet, the Fantasie in F minor for piano four-hands, and the Adagio and Rondo Concertante for piano quartet 
The New York Times' chief music critic Anthony Tommasini, who ranked Schubert as the fourth greatest composer, wrote of him:You have to love the guy, who died at 31, ill, impoverished and neglected except by a circle of friends who were in awe of his genius  For his hundreds of songs alone – including the haunting cycle Winterreise, which will never release its tenacious hold on singers and audiences – Schubert is central to our concert life    Schubert's first few symphonies may be works in progress  But the Unfinished and especially the Great C major Symphony are astonishing  The latter one paves the way for Bruckner and prefigures Mahler 

Tributes by other musicians
From the 1830s through the 1870s, Franz Liszt transcribed and arranged several of Schubert's works, particularly the songs  Liszt, who was a significant force in spreading Schubert's work after his death, said Schubert was "the most poetic musician who ever lived " Schubert's symphonies were of particular interest to Antonín Dvořák  Hector Berlioz and Anton Bruckner acknowledged the influence of the Great C Major Symphony  It was Robert Schumann who, having seen the manuscript of the Great C Major Symphony in Vienna in 1838, drew it to the attention of Mendelssohn, who led the first performance of the symphony, in a heavily abridged version, in Leipzig in 1839 In the 20th century, composers such as Richard Strauss, Anton Webern, Benjamin Britten, George Crumb, and Hans Zender championed or paid homage to Schubert in some of their works  Britten, an accomplished pianist, accompanied many of Schubert's Lieder and performed many piano solo and duet works  German electronic music group Kraftwerk has a track titled Franz Schubert on their 1977 album Trans-Europe Express 

Commemorations
In 1897, the 100th anniversary of Schubert's birth was marked in the musical world by festivals and performances dedicated to his music  In Vienna, there were ten days of concerts, and the Emperor Franz Joseph gave a speech recognising Schubert as the creator of the art song, and one of Austria's favourite sons Karlsruhe saw the first production of his opera Fierrabras In 1928, Schubert Week was held in Europe and the United States to mark the centenary of the composer's death  Works by Schubert were performed in churches, in concert halls, and on radio stations  A competition, with top prize money of $10,000 and sponsorship by the Columbia Phonograph Company, was held for "original symphonic works presented as an apotheosis of the lyrical genius of Schubert, and dedicated to his memory"  The winning entry was Kurt Atterberg's sixth symphony 

In film and television
Schubert has featured as a character in several films including Schubert's Dream of Spring (1931), Gently My Songs Entreat (1933), Serenade (1940), The Great Awakening (1941), It's Only Love (1947), Franz Schubert (1953), Das Dreimäderlhaus (1958), and Mit meinen heißen Tränen (1986)  Schubert's music has also been featured in numerous post-silent era films, including Walt Disney's Fantasia (1940), which features Ave Maria (D  839); and the biographical film Carrington (1995), which features the second movement of the String Quintet in C major (D  956), as well as the English version of The Adventures of Milo and Otis (1989), which features Serenade and Auf dem Wasser zu singen (D  774) 
Schubert's String Quartet No  15 in G is featured prominently in the Woody Allen film Crimes and Misdemeanors (1989)  The Piano Quintet in A major, D  667 (Trout Quintet) is featured in the 2011 film Sherlock Holmes: A Game of Shadows by Guy Ritchie  The music of the String Quartet No  14 in D minor, "Death and the Maiden", is often used to accompany documentaries or films, notably the 1994 film of that name by Roman Polanski   The second movement from the Piano Trio No  2 in E-Flat Major, Op  100/D 929, was featured in Stanley Kubrick's 1975 film Barry Lyndon 
Schubert's life was covered in the documentary Franz Peter Schubert: The Greatest Love and the Greatest Sorrow by Christopher Nupen (1994), and in the documentary Schubert – The Wanderer by András Schiff and Mischa Scorer (1997), both produced for the BBC  "Great Performances," "Now Hear This: The Schubert Generation Series," hosted by Scott Yoo, explored commentary and performances by contemporary musician admirers 

Footnotes
Passage 6:
Michelangelo Faggioli
Michelangelo Faggioli (1666–1733) was an Italian lawyer and celebrated amateur composer of humorous cantatas in Neapolitan dialect  A founder of a new genre of Neapolitan comedy, he was the composer of the opera buffa La Cilla in 1706 
Passage 7:
Tarcisio Fusco
Tarcisio Fusco was an Italian composer of film scores  He was the brother of the composer Giovanni Fusco and the uncle of operatic soprano Cecilia Fusco 

Selected filmography
Boccaccio (1940)
Free Escape (1951)
Abracadabra (1952)
The Eternal Chain (1952)
Beauties in Capri (1952)
Milanese in Naples (1954)
Conspiracy of the Borgias (1959)
Passage 8:
Alexander Courage
Alexander Mair Courage Jr  (December 10, 1919 – May 15, 2008) familiarly known as "Sandy" Courage, was an American orchestrator, arranger, and composer of music, primarily for television and film  He is best known as the composer of the theme music for the original Star Trek series 

Early life
Courage was born in Philadelphia, Pennsylvania  He received a music degree from the Eastman School of Music in Rochester, New York, in 1941  He served in the United States Army Air Forces in the western United States during the Second World War  During that period, he also found the time to compose music for the radio  His credits in this medium include the programs Adventures of Sam Spade Detective, Broadway Is My Beat, Hollywood Soundstage, and Romance 

Career
Courage began as an orchestrator and arranger at MGM studios, which included work in such films as the 1951 Show Boat ("Life Upon the Wicked Stage" number); Hot Rod Rumble (1957 film); The Band Wagon ("I Guess I'll Have to Change My Plan"); Gigi (the can-can for the entrance of patrons at Maxim's); and the barn raising dance from Seven Brides for Seven Brothers 
He frequently served as an orchestrator on films scored by André Previn (My Fair Lady, "The Circus is a Wacky World", and "You're Gonna Hear from Me" production numbers for Inside Daisy Clover), Adolph Deutsch (Funny Face, Some Like It Hot), John Williams (The Poseidon Adventure, Superman, Jurassic Park, and the Academy Award-nominated musical films Fiddler on the Roof and Tom Sawyer), and Jerry Goldsmith (Rudy, Mulan, The Mummy, et al )   He also arranged the Leslie Bricusse score (along with Lionel Newman) for Doctor Dolittle (1967) Apart from his work as a respected orchestrator, Courage also contributed original dramatic scores to films, including two westerns: Arthur Penn's The Left Handed Gun (1958) and André de Toth's Day of the Outlaw (1959), and the Connie Francis comedy Follow the Boys (1963)  He continued writing music for movies throughout the 1980s and 1990s, including the score for Superman IV: The Quest for Peace (1987), which incorporated three new musical themes by John Williams in addition to Courage's adapted and original cues for the film  Courage's score for Superman IV: The Quest for Peace was released on CD in early 2008 by the Film Music Monthly company as part of its boxed set Superman - The Music, while La-La Land Records released a fully expanded restoration of the score on May 8, 2018, as part of Superman's 80th anniversary 
Courage also worked as a composer on such television shows as Daniel Boone, The Brothers Brannagan, Lost in Space, Eight Is Enough, and Voyage to the Bottom of the Sea  Judd, for the Defense, Young Dr  Kildare and The Brothers Brannagan were the only television series besides Star Trek for which he composed the main theme 
The composer Jerry Goldsmith and Courage teamed on the long-running television show The Waltons in which Goldsmith composed the theme and Courage the Aaron Copland-influenced incidental music  In 1988, Courage won an Emmy Award for his music direction on the special Julie Andrews: The Sound of Christmas   In the 1990s, Courage succeeded Arthur Morton as Goldsmith's primary orchestrator Courage and Goldsmith collaborated again on orchestrations for Goldsmith's score for the 1997 film "The Edge "
Courage frequently collaborated with John Williams during the latter's tenure with the Boston Pops Orchestra 

Family
At the age of 35, Courage married Mareile Beate Odlum on October 6, 1955 
Mareile, born in Germany, was the daughter of Rudolf Wolff and Elisabeth Loechelt  After Wolff's suicide Elisabeth married Carl Wilhelm Richard Hülsenbeck, renowned for his involvement in the Dada movement in Europe  Hülsenbeck brought his wife (Elisabeth), son (Tom) and step-daughter (Mareile) to the United States in 1938 to avoid the political situation rapidly developing in Europe  After arriving in the US he changed his last name to Hulbeck 
Mareile's marriage to Courage was her third  Her second marriage was to Bruce Odlum (son of financier Floyd Odlum) in 1944  That union produced two sons, Christopher (1947) and Brian (1949)  When Courage married Mareile he accepted the responsibility of acting stepfather to them  The family originally lived together on Erskine Dr  in Pacific Palisades, but later moved to a mountainside home on Beverly Crest Drive in Beverly Hills 
Aside from his musical abilities Courage was also an avid and accomplished photographer  He took many dramatic photos of bullfights and auto racing  He was a racing enthusiast, and his interest in that sport and photography brought him into contact with many racing personalities of the era, notably Phil Hill and Stirling Moss, both of whom he considered friends  Moss paid at least one social visit to the Erskine residence 
Though a dedicated stepfather to Christopher and Brian, Courage's musical career took precedence over his familial responsibilities  He sought to interest his step-children in music, and was responsible for arranging Brian's first musical lessons, on alto saxophone  Later in life Brian became a composer of serious electronic music, though the vocation was not apparent during his childhood, as he was a poor saxophone student 
Alexander and Mareile were divorced April 1, 1963  Courage subsequently married Kristin M  Zethren on July 14, 1967  That marriage also ended in divorce in 1972 

Star Trek theme
Courage is best known for writing the theme music for the original Star Trek series, and other music for that series  Courage was hired by Star Trek creator Gene Roddenberry to score the original series at Jerry Goldsmith's suggestion, after Goldsmith turned down the job   
Courage went on to score incidental music for episodes "The Man Trap" and "The Naked Time" and some cues for "Mudd's Women "
Courage reportedly became alienated from Roddenberry when Roddenberry claimed half of the theme music royalties  Roddenberry wrote words for Courage's theme, not because he expected the lyrics to be sung on television, but so that he (Roddenberry) could receive half of the royalties from the song by claiming credit as the composition's co-writer  Courage was replaced by composer Fred Steiner who was then hired to write the musical scores for the remainder of the first season  
After sound editors had difficulty finding the right effect, Courage himself made the iconic "whoosh" sound heard while the Enterprise flies across the screen He returned to Star Trek to score two more episodes for the show's third and final season, episodes "The Enterprise Incident" and "Plato's Stepchildren," allegedly as a courtesy to Producer Robert Justman 
Notably, after later serving as Goldsmith's orchestrator, when Goldsmith composed the music for Star Trek: The Motion Picture,  Courage orchestrated Goldsmith's adaptation of his original Star Trek theme 
Following Star Trek: The Motion Picture, Courage's iconic opening fanfare to the Star Trek theme became one of the franchise's most famous and memorable musical cues  The fanfare has been used in multiple motion pictures and television series,  notably Star Trek: The Next Generation and the four feature films based upon that series, three of which were scored by Goldsmith 

Death
Courage had been in declining health for several years before he died on May 15, 2008, at the Sunrise assisted-living facility in Pacific Palisades, California  He had suffered a series of strokes prior to his death  His mausoleum is in Westwood Village Memorial Park Cemetery 
Passage 9:
Gretchen am Spinnrade
"Gretchen am Spinnrade" (Gretchen at the Spinning Wheel), Op  2, D 118, is a Lied composed by Franz Schubert using the text from Part One, scene 15 of Johann Wolfgang von Goethe's Faust  With "Gretchen am Spinnrade" and some 600 other songs for voice and piano, Schubert contributed transformatively to the genre of Lied  "Gretchen am Spinnrade" was composed for soprano voice but has been transposed to accommodate other voice types  Schubert composed "Gretchen am Spinnrade" on 19 October 1814, three months before his eighteenth birthday 

German text
Analysis
The song is in three sections, exactly reflecting the form of Goethe's poem  On the other hand, Schubert contradicts Gretchen's return to composure in the last three stanzas by obsessively repeating her words to create a second climax on the highest note of the song The song opens with Gretchen at her spinning wheel, thinking of Faust and all that he had promised  The accompaniment in the right hand mimics the perpetual movement of the spinning-wheel and the left hand imitates the foot treadle  The initial key of D minor sets a longing tone as Gretchen begins to sing of her heartache ("Meine Ruh' ist hin/Mein herz ist schwer")  The first section progresses from D minor to C major, A minor, E minor, F major, and then returns to D minor  This, plus the crescendo, builds tension which releases only to be brought back to the beginning, much like the ever-circling spinning wheel  The song modulates to F major as Gretchen starts talking of Faust ("Sein hoher Gang/Sein' edle Gestalt")  The left-hand imitation of the treadle disappears and changes to block chords  Additionally, the absence of the rhythmic, consistent treadle allows Gretchen to lose her sense of stability and reality as she swoons over Faust  This section increases tension with a faster tempo, louder dynamics, and higher pitch in the soprano and peaks at Gretchen's remembrance of Faust's kiss ("Und ach, sein Kuß!")  Similar to the previous section, the music returns to the home key of D minor as Gretchen resumes reality and begins her spinning once more  The third part begins again with "Meine Ruh' ist hin/Mein herz ist schwer," but this time Gretchen escalates in intensity much faster than the previous sections  However, the treadle-like left hand is present, keeping her rooted in reality  Gretchen comes down from this fantasy quicker than before, as she realizes she and Faust will never be together  With a heavy heart, Gretchen comes to terms with this hard truth  The song ends as it began: in D minor, alluding to the monotony of the spinning wheel, and how reality is always present 

Notable recordings
Notable recordings include those by

Elly Ameling and Jörg Demus
Elly Ameling and Dalton Baldwin
Barbara Bonney and Geoffrey Parsons
Janet Baker and Gerald Moore 
Anne Sofie von Otter, Schubert Lieder with Orchestra, CD, accompanied by the Chamber Orchestra of Europe led by Claudio Abbado Other notable recordings include those by Kathleen Ferrier, Renée Fleming, Brigitte Fassbaender, Janet Baker, Kiri Te Kanawa, Dawn Upshaw, Christa Ludwig, Gundula Janowitz, Jessye Norman, Irmgard Seefried, Elisabeth Schumann, Lotte Lehmann, Rosette Anday, and Elisabeth Schwarzkopf  Nina Hagen, titled "Gretchen" on her 1991 album Street is an interesting electronic adaptation 
Passage 10:
Petrus de Domarto
Petrus de Domarto (fl  c  1445–1455) was a Franco-Flemish composer of the Renaissance   He was a contemporary and probable acquaintance of Ockeghem, and was the composer of at least one of the first unified mass cycles to be written in continental Europe 

Life
Domarto's life is poorly documented   He was listed as a singer at the Church of Our Lady in Antwerp in 1449, five years after Ockeghem was known to be there, and there is evidence he was in Tournai in 1451   He had a high reputation (which makes the lack of documentation on his life curious), but even so was passed over for a post as master of the choirboys (in favor of Paulus Iuvenis)   No other documentation on his life has yet come to light 

Music and reputation
Domarto's two mass settings, the Missa Spiritus almus and a Missa sine nomine, were famous at the time   The latter of the two may have been one of the earliest cyclic masses composed on the continent, most likely in the 1440s, and imitates some features of contemporary English composers such as Leonel Power   The Missa Spiritus almus, likely dating from the 1450s, is a cantus-firmus mass, with the melody always in the tenor, but with a changing rhythmic profile as it changes mensuration throughout the piece   The procedure was evidently influential on the next generation of composers, for it was still being copied in the 1480s, and Busnois may have based one of his own masses on the same method (the Missa O crux lignum)  The theorist and writer Johannes Tinctoris criticised it for exactly the features that inspired other composers 
The two surviving secular compositions by Domarto are both rondeaux, formes fixes of the type popular with the Burgundian School 

Works
Masses
Missa Spiritus almus (four voices)
Missa sine nomine (three voices)

Secular
Rondeaux, each for three voices:

Chelui qui est tant plain de duel
Je vis tous jours en esperance

Notes



ground_truth: Vienna