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

Question: Which country Keōpūolani's husband is from?

The following are given passages.
Context 1: Passage 1:
Rumbold of Mechelen
Saint Rumbold (or Rumold, Romuold, Latin: Rumoldus, Dutch: Rombout, French: Rombaut) was an Irish or Scottish Christian missionary, although his true nationality is not known for certain 
He was martyred near Mechelen by two men, whom he had denounced for their evil ways Saint Rumbold's feast day is celebrated by the Roman Catholic Church, and Western Rite Orthodox Churches, on 24 June;
and it is celebrated in Ireland on 3 July 
He is the patron saint of Mechelen, where St  Rumbold's Cathedral possesses an elaborate golden shrine on its high altar, containing relics attributed to the saint  It is rumoured that his remains are buried inside the cathedral  Twenty-five paintings in the choir illustrate his life 

Life and legend
Rumbold is assumed to have been consecrated a regionary bishop at Rome  Aodh Buidhe Mac an Bhaird (c  1590–1635) argued that Rumbold had been born in Ireland  He is also said to have been a Bishop of Dublin, the son of a Scottish king, and the brother of Saint Himelin  He is assumed to have worked under St  Willibrord in the Netherlands and Brabant, and also to have been a close companion of the hermit St  Gummarus, and of the preacher monk Fredegand van Deurne, who, according to one tradition, maintained contact with St  Foillan (who was murdered in the Sonian Forest around 665) St  Rumbold's biography, written around 1100 AD by Theodoricus, prior of Sint-Truiden Abbey, caused 775 to be the traditional year of the saint's death  The surrounding areas of Mechelen however, had been Christianized much earlier 
In 2004 a state-of-the-art examination of the relics assumed to be St  Rumbold's showed a death date between 580 and 655 
This would make Saint Rumbold a Hiberno-Scottish rather than an Anglo-Saxon missionary, and not a contemporary of either St  Willibrord, St  Himelin, or St  Gummarus 

St  Rumwold of Buckingham
There has been some historical confusion between Rumbold of Mechelen and the infant Saint Rumwold of Buckingham, who died in 662 AD at the age of 3 days  The latter has become referred to as Romwold, Rumwald, Runwald, Rumbald, or Rumbold  A compilation of three saints' lives as translated by Rosalind Love mentioned that on 15th-century records in Salisbury, an unknown author 'corrected' the attribution as "martyr" (possibly the Rumbold murdered in Mechelen) by annotating "confessor" (fitting in the miraculous infant Rumwold who was not a martyr)  Also, the original dedication of churches to a St  Rumbold in Northern England appears uncertain 

Gallery
Passage 2:
Eleni Gabre-Madhin
Eleni Zaude Gabre-Madhin (born 12 July 1964) is an Ethiopian-born Swiss economist, and former chief executive officer of the Ethiopia Commodity Exchange (ECX)  She has had many years of experience working on agricultural markets – particularly in Sub-Saharan Africa – and has held senior positions in the World Bank, the International Food Policy Research Institute (Washington), and United Nations (Geneva) 

Eleni Gebremedhn
Eleni was born in Addis Ababa, Ethiopian Empire on 12 July 1964  She grew up in four different African countries including Kenya, Tanzania and South Africa  She speaks fluent Swahili, English, Amharic and French  She graduated from Rift Valley Academy in Kenya with the highest of honours  She has a PhD in Applied Economics from Stanford University, master's degrees from Michigan State University and bachelor's in economics from Cornell University  Eleni was selected as "Ethiopian Person of the Year" for the 2002 ET calendar year (2009/2010 Gregorian) by the Ethiopian newspaper Jimma Times 

Career
She was the main driving force behind the development of the Ethiopia Commodity Exchange (ECX)  Whilst working as a researcher for the International Food Policy Research Institute (IFPRI) she examined agricultural markets for many years and noticed, as had many others, that whilst in some years or regions there were severe shortages or droughts in others there were surpluses or bumper harvests  Specifically in her survey of grain traders in 2002, she found that a key factor was the lack of effective infrastructure and services needed for grain markets to function properly   Traders often failed to have access to sufficient credit, information about the market, transportation and other vital resources and contract compliance was difficult to enforce   In 2004 she moved home from the US to lead an IFPRI program to improve Ethiopia's agricultural policies and markets  Specifically she undertook the important role of coordinating the advisory body developing the ECX    She became CEO of the new exchange in 2008, and argued that "(W)hen farmers can sell their crops on the open market and get a fair price, they will have much more incentive to be productive, and Ethiopia will be much less prone to food crises"      and that the "ECX will allow farmers and traders to link to the global economy, propelling Ethiopian agriculture forward to a whole new level "In February 2013, she became a director of Syngenta In 2013, Eleni launched eleni LLC, a company intended to build and invest in commodity exchanges in markets in the developing world, including Africa In November 2021, the Canadian novelist Jeff Pearce leaked a video that depicts Eleni's participation in a virtual meeting discussion, along with Professor Ephraim Isaac, former Ethiopian Minister of Foreign Affairs and current TPLF spokesperson Berhane Gebre-Christos and several Western diplomats, that mentioned a transitional government during Tigray War  Shortly, she was removed from membership of the Independent Economic Council, which formed to support Prime Minister Abiy Ahmed economic transition   On 25 November, Eleni released a statement that denying the allegation as "deliberately misrepresented"  Two days before the leaked video unveiled, police forces searched her house and remained undisclosed for suspected foul play   The incident stirred public outrage in Ethiopia and its diaspora, condemning her as traitor  The University of Gondar also revoked an honorary doctorate it had awarded her 

Awards
In 2010, Eleni was named Ethiopian Person of the Year for the 2002 Ethiopian year  Eleni was listed as one of the 50 Women Shaping Africa in 2011 In 2012, Eleni was awarded the Yara Laurate Prize from the Norwegian fertilizer manufacturer Yara International for her outstanding contributions to sustainable food production and distribution with socio-economic impact  Previous recipients of the prize include former prime minister of Ethiopia Meles Zenawi  That same year, she was recognized as one of New African Magazine's 100 Most Influential Africans, won the African Banker Icon Award, and invited to the G8 Summit at Camp David She was granted The Power with Purpose Award from Devex and McKinnsey in 2016 Formerly, Eleni Gabre-Madhin received an honorary doctorate, in 2013, from the University of Gondar in Ethiopia  However, later in November 2021, the University of Gondar revoked the Honorary Doctorate of Eleni Gabre-Madhin in relation to her involved clandestine video meeting aimed at toppling the democratically elected government of Ethiopia 
Passage 3:
Keōpūolani
Kalanikauikaʻalaneo Kai Keōpūolani-Ahu-i-Kekai-Makuahine-a-Kama-Kalani-Kau-i-Kealaneo (1778–1823) was a queen consort of Hawaiʻi and the highest ranking wife of King Kamehameha I 

Early life
Keōpuolani was born around 1778 at an area known as Pahoehoe of Pāpōhaku, near present-day Wailuku, on the island of Maui  She was known as Kalanikauikaʻalaneo in her early childhood : 11  Her name means "Gathering of the Clouds of Heaven" 
Her father was Kīwalaʻō, King of Hawaiʻi island  He was the son of King Kalaniʻōpuʻu of Hawaiʻi island who met Captain James Cook at Kealakekua Bay 
Her mother was Queen Kekuʻiapoiwa Liliha, half-sister of Kamehameha I  Their father was Keōuakupuapāikalani 
Kiwalaʻō and Kekuʻiapoiwa Liliha were half-siblings through their shared mother, High Chiefess Kalola-Pupuka-Honokawahilani of Maui 
As a child, Keōpuolani lived for a while in Hāna (the eastern tip of Maui), then moved back to the Wailuku area 

Battle of Kepaniwai
In 1790, while Keōpuolani was 11, Kamehameha attacked the island of Maui at the Battle of Kepaniwai while her great-uncle King Kahekili II was away on the island Oʻahu  When Maui forces under Kalanikupule lost to Kamehameha, Kalola along with her two daughters, many Maui chiefesses and Keōpuolani tried to flee to Oʻahu  They stopped in Molokaʻi as sickness overcame the elderly Kalola, and were caught by Kamehameha's forces  Kalola offered her granddaughter as a future bride and the recognition of Kamehameha as the ruler of Maui in exchange for peace  Other Maui chiefesses also joined Kamehameha's court : 260 She was given the name Wahinepio (captive women) around this time, but this name is usually associated with another chiefess : 11  She was commonly known as Keōpuolani 

Ancestry and rank
Keōpūolani was among the highest aliʻi of all the islands of Hawaiʻi in her days, a ranking called naha  This meant she was the product of a royal half-sister and brother marriage 
Her extended genealogy displays an extreme case of pedigree collapse; in the five preceding generations, the 64 possible positions for her ancestors are filled by only 30 individuals, largely due to multiple half-sibling marriages (by comparison, Charles II of Spain, an extreme case of European royal pedigree collapse, has 32 individuals in those positions, in his case largely due to multiple uncle-niece marriages) 
This lineage gave her unquestionable social and political influence, which made her a coveted marriage partner for a chief to ensure heirs to inherit the combined ranks and birthrights of both parents  She married Kamehameha in 1795 and their marriage linked the House of Kamehameha to the ruling house of Maui and the old ruling house of Hawaii  Although Kamehameha had his own claims to these island, Keōpūolani further cemented his legitimacy over his usurpation of his cousin, Keōpūolani's father 
She possessed the kapu moe (prostrating taboo) which required commoners to fall to their face on the ground at her presence   When chanters mentioned her name, listeners removed their kapa (bark cloth) garments above the waist in deference  Even the touching of her shadow by commoners was punishable by death  She was kindhearted and never enforced those punishments  Even Kamehameha had to remove his malo (loincloth) in her presence  She was amiable and affectionate, while her husband was not  Keōpūolani was strict in the observance of the kapu, but mild in her treatment of those who had broken it, so they often fled to her protection 

Children
She mothered at least three of Kamehameha's children: Prince Liholiho in 1797 (later King Kamehameha II), Prince Kauikeaouli in 1814 (later King Kamehameha III), and Princess Nāhienaena in 1815 Perhaps up to eleven or twelve children were born but all except the three mentioned died young Because of the large age difference, Kamehameha called his children born to Keōpūolani his grandchildren  The children of nieces and nephews were collectively grandchildren among the older generations of true grandparents and their siblings  Only his children by Keōpūolani were considered so sacred that the Great Warrior would lie on his back and allow them to sit on his chest as a sign of their superior status  The sons were taken away to be raised by others, but she would break the Hawaiian tradition of hānai and keep her daughter Nāhienaena by her side 

King Kamehameha's death
Upon the death of Kamehameha I in 1819, Keōpūolani's eldest son, Liholiho, ascended the throne as Kamehameha II  For the most part, Keōpūolani stayed out of politics, but generally supported Kamehameha I's favorite wife Kaʻahumanu, who served as Kuhina Nui (Regent) during the short reign of Liholiho  After the death of Kamehameha I, Keōpūolani married High Chief Hoapili, a close friend of Kamehameha who was the son of Kameʻeiamoku, one of the royal twins  Hoapili was given the honor of secretly carrying the remains of Kamehameha by canoe to a secret site on the coast of Kona  This burial mystery has inspired the  epitaph: "Only the stars of the heavens know the resting place of Kamehameha "

ʻAi Noa and Christianity
Keōpūolani played an instrumental role in the ʻAi Noa, the overthrow of the Hawaiian kapu system  She collaborated with Queen Kaʻahumanu and Kahuna-nui Hewahewa, sharing a meal of forbidden foods  At the time, men were forbidden to eat with women according to the kapu  Since they were not punished by the gods, the kapu was broken The breaking of the kapu came at an instrumental time for the missionaries who came in 1820  She was among the first of the aliʻi to convert to Christianity  She adopted western clothing and learned to read and write 
In March, 1823, Hoapili, now royal governor of Maui, asked to be supplied with books for Keōpūolani to pursue her studies  For a domestic chaplain they used Pu-aʻa-i-ki, also known as "Blind Bartimeus", who was known as "a spiritual light" 
At this time, Keōpūolani made the public declaration that the custom of taking multiple spouses by royalty would be ending, to be consistent with Christian practice  Hoapili became her only husband : 41 : 38

Illness
Keōpūolani became ill, and worsened the last week of August, 1823  Many chiefs began to assemble to pay their respects to the Queen  Vessels were dispatched for them to different parts of the Islands, and one was sent by the king to Honolulu for Dr  Blatchley  In the evening of September 8, sensing that she was dying, a messenger summoned the mission families to her house 
She extended her hand to them with a smile, and said "Maikai! — "Good", — and added, "Great is my love to God"  In the morning she was a little better, and conversed with her husband Hoapili 
To the prime minister, Kalanimoku, on his arrival, she is quoted by the missionaries:

Jehovah is a good God  I love him and I love Jesus Christ  I have given myself to him to be his  When I die, let none of the evil customs of this country be practiced  Let not my body be disturbed  Let it be put in a coffin  Let the teachers attend, and speak to the people at my interment  Let me be buried, and let my burial be after the manner of Christ's people  I think very much of my grandfather, Kalaniopuʻu, and my father Kiwalaʻo, and my husband Kamehameha, and all my deceased relatives  They lived not to see these good times, and to hear of Jesus Christ  They died depending on false gods  I exceedingly mourn and lament on account of them, for they saw not these good times "

Baptism and death
Keōpūolani wanted to receive Christian baptism  The missionaries in Lahaina, Charles Stewart and William Richards, agreed it would be appropriate  However, they wanted a spokesman fluent in the Hawaiian language so the implications of the public ceremony would be clearly understood 

English missionary William Ellis arrived at this time, and the dying woman was acknowledged as a member of the church  The king and all the assembled leaders listened to Ellis's statement of the grounds on which baptism was administered to the queen; and when they saw that water was sprinkled on her in the name of God, they said, "Surely she is no longer ours  She has given herself to Jesus Christ  We believe she is his, and will go to dwell with him " 
She wanted her daughter Nāhiʻenaʻena to be raised as a Christian  Keōpūolani took her Christian name from Charles Stewart's wife Harriet Stewart, and her daughter would take the same name  An hour afterwards, in the early evening of September 16, 1823, she died 
The next day, the ships in port fired their guns in salute, and a large public funeral was held on September 18, 1823 
She was buried at a new tomb at Hale Kamani in Lahaina  In 1837, King Kamehameha III transferred her body to the sacred island of Mokuʻula in Lahaina, Maui  Later her remains were perhaps reburied at the Christian cemetery at Waiola Church, along with her daughter and many others in the royal family  Keōpūolani Park at 700 Halia Nakoa Street in Wailuku 20°53′37″N 156°29′4″W
and Keōpūolani Dormitory on the Kapalama Campus of Kamehameha Schools were named after her 

Family
Family tree
Ancestry
Passage 4:
Khalid al-Habib
Khalid Habib (Arabic: خالد حبيب)  (died October 16, 2008), born Shawqi Marzuq Abd al-Alam Dabbas (Arabic: شوقي مرزوق عبد العليم دباس), was an ascending member of al-Qaeda's central structure in Pakistan and Afghanistan  His nationality was reported as Egyptian (by CBS News) and as Moroccan (by The New York Times) 
Habib was the operations commander for the region  He was one of several al-Qaeda members who were more battle-hardened by combat experience in Iraq, Chechnya, and elsewhere  This experience rendered them more capable than their predecessors  According to The New York Times, this cadre was more radical than the previous generation of al-Qaeda leadership  The FBI described Habib as "one of the five or six most capable, most experienced terrorists in the world In 2008, Habib relocated from Wana to Taparghai, Pakistan to avoid missile strikes launched from US-operated MQ-1 Predator aircraft which targeted al Qaeda and Taliban personnel   Khalid Habib was killed by a Predator strike near Taparghai on October 16, 2008  Habib was reportedly sitting in a Toyota station wagon which was struck by the missile  On October 28, militants confirmed to the Asia Times that Habib was killed in the drone attack 
Passage 5:
Kamehameha I
Kamehameha I (Hawaiian pronunciation: [kəmehəˈmɛhə]; Kalani Paiʻea Wohi o Kaleikini Kealiʻikui Kamehameha o ʻIolani i Kaiwikapu kauʻi Ka Liholiho Kūnuiākea; c  1758? –  May 8 or 14, 1819), also known as Kamehameha the Great, was the conqueror and first ruler of the Kingdom of Hawaii  The state of Hawaii gave a statue of him to the National Statuary Hall Collection in Washington, D C  as one of two statues it is entitled to install there 

Birth and childhood
Paternity and family history
Kamehameha (known as Paiea at birth), was born to Kekuʻiapoiwa II, the niece of Alapainui, the usurping ruler of Hawaii Island who had killed the two legitimate heirs of Keaweʻīkekahialiʻiokamoku during civil war  By most accounts he was born in Ainakea, Kohala, Hawaii  His father was Keōua Kalanikupuapa'ikalaninui; however, Native Hawaiian historian Samuel Kamakau says that Maui monarch Kahekili II had hānai adopted (traditional, informal adoption) Kamehameha at birth, as was the custom of the time  Kamakau believes this is why Kahekili II is often referred to as Kamehameha's father  The author also says that Kameʻeiamoku told Kamehameha I that he was the son of Kahekili II, saying, "I have something to tell you: Ka-hekili was your father, you were not Keoua's son  Here are the tokens that you are the son of Ka-hekili "King Kalakaua wrote that these rumors are scandals and should be dismissed as the offspring of hatred and jealousies of later years   Regardless of the rumors, Kamehameha was a descendant of Keawe through his mother Kekuʻiapoiwa II; Keōua acknowledged him as his son and he is recognized as such by all the sovereigns and most genealogists Accounts of Kamehameha I's birth vary, but sources place his birth between 1736 and 1761, with historian Ralph Simpson Kuykendall believing it to be between 1748 and 1761  An early source is thought to imply a 1758 dating because that date matched a visit from Halley's Comet, and would make him close to the age that Francisco de Paula Marín estimated he was  This dating, however, does not accord with the details of many well-known accounts of his life, such as his fighting as a warrior with his uncle, Kalaniʻōpuʻu, or his being of age to father his first children by that time  The 1758 dating also places his birth after the death of his father Kamakau published an account in the Ka Nupepa Kuokoa in 1867 placing the date of Kamehameha's birth around 1736  He wrote, "It was during the time of the warfare among the chiefs of [the island of] Hawaii which followed the death of Keawe, chief over the whole island (Ke-awe-i-kekahi-aliʻi-o-ka-moku) that Kamehameha I was born"  However, his general dating has been challenged as twenty years too early, related to disputes over Kamakau's inaccuracy of dating compared to accounts of foreign visitors  Regardless, Abraham Fornander wrote in his book, An Account of the Polynesian Race: Its Origins and Migrations: "when Kamehameha died in 1819 he was past eighty years old  His birth would thus fall between 1736 and 1740, probably nearer the former than the latter"  A Brief History of the Hawaiian People by William De Witt Alexander lists the birth date in the "Chronological Table of Events of Hawaiian History" as 1736  In 1888 the Kamakau account was challenged by Samuel C  Damon in the missionary publication; The Friend, deferring to a 1753 dating that was the first mentioned by James Jackson Jarves  But the Kamakau dating was widely accepted due to support from Abraham Fornander 

Concealment and childhood
At the time of Kamehameha's birth, Keōua and his half-brother Kalaniʻōpuʻu were serving Alapaʻinui, ruler of the island of Hawaii  Alapaʻinui had brought the brothers to his court after defeating both their fathers in the civil war that followed the death of Keaweʻīkekahialiʻiokamoku  Keōua died while Kamehameha was young, so Kamehameha was raised in the court of his uncle, Kalaniʻōpuʻu  The traditional mele chant of Keaka, wife of Alapainui, indicates that Kamehameha was born in the month of ikuwā (winter) or around November  Alapai had given the child, Kamehameha, to his wife, Keaka, and her sister, Hākau, to care for after the ruler discovered the infant had survived On February 10, 1911, the Kamakau version was challenged by the oral history of the Kaha family, as published in newspaper articles also appearing in the Kuoko  After Kamakau's history was published again, to a larger English reading public in 1911 Hawaii, the Kaha version of these events was published by Kamaka Stillman, who had objected to the Nupepa article 

Unification of the islands
Hawaii Island
Kamehameha was raised in the royal court of his uncle Kalaniʻōpuʻu  He achieved prominence in 1782, upon Kalaniʻōpuʻu's death  While the kingship was inherited by Kīwalaʻō, Kalaniʻōpuʻu's son,  Kamehameha was given a prominent religious position as guardian of the Hawaiian god of war, Kūkāʻilimoku  He was also given control of the district of Waipiʻo Valley  The two cousins' relationship was strained after Kamehameha made a dedication to the gods instead of allowing Kīwalaʻō to do that  Kamehameha accepted the allegiance of a group of chiefs from the Kona district 
The other story took place after the prophecy was passed along by the high priests and high chiefs  When Kamehameha was able to lift the Naha Stone, he was considered the fulfiller of the prophecy  Other ruling chiefs, Keawe Mauhili, the Mahoe (twins) Keoua, and other chiefs rejected the prophecy of Ka Poukahi  The high chiefs of Kauai supported Kiwala`o even after learning about the prophecy 
The five Kona chiefs supporting Kamehameha were Keʻeaumoku Pāpaʻiahiahi (Kamehameha's father-in-law/grand uncle), Keaweaheulu Kaluaʻāpana (Kamehameha's uncle), Kekūhaupiʻo (Kamehameha's warrior teacher), and Kameʻeiamoku and Kamanawa (twin uncles of Kamehameha)  They defended Kamehameha as the unifier Ka Na`i aupuni  High Chiefs Keawe Mauhili and Keeaumoku were by genealogy the next in line for ali`i nui  Both chose the younger nephews Kīwalaʻō and Kamehameha over themselves   Kīwalaʻō was soon defeated in the first key conflict, the Battle of Mokuʻōhai  Kamehameha and his chiefs took over Konohiki responsibilities and sacred obligations of the districts of Kohala, Kona, and Hāmākua on Hawaiʻi island The prophecy included far more than Hawaiʻi island  It went across and beyond the Pacific Islands to the semi-continent of Aotearoa (New Zealand)  He was supported by his most political wife Kaʻahumanu and father, High Chief Keeaumoku  Senior counselor to Kamehameha, she became one of Hawaiʻi's most powerful figures  Kamehameha and his council of chiefs planned to unite the rest of the Hawaiian Islands  Allies came from British and American traders, who sold guns and ammunition to Kamehameha  Another major factor in Kamehameha's continued success was the support of Kauai chief Ka`iana and Captain Brown, who used to be with Kaeo okalani  He guaranteed Kamehameha unlimited gunpowder from China and gave him the formula for gunpowder: sulfur, saltpeter, and charcoal, all of which are abundant in the islands   Two westerners who lived on Hawaiʻi island, Isaac Davis and John Young, married native Hawaiian women and assisted Kamehameha 

Olowalu Massacre
In 1789, Simon Metcalfe captained the fur trading vessel the Eleanora while his son, Thomas Humphrey Metcalfe, captained the ship Fair American along the Northwest Coast  They were to rendezvous in what was then known as the Sandwich Islands  Fair American was held up when it was captured by the Spanish and then quickly released in San Blas  The Eleanora arrived in 1790, where it was greeted by chief Kameʻeiamoku  The chief did something that the captain took offense to, and Metcalfe struck the chief with a rope's end  Sometime later, while docked in Honuaula, Maui, a small boat tied to the ship was stolen by native townspeople with a crewman inside  When Metcalfe discovered where the boat was taken, he sailed directly to the village of Olowalu  There he confirmed the boat had been broken apart and the man killed  He had already fired muskets into the previous village where he was anchored, killing some residents   Metcalfe now took aim at Olowalu  He had all cannons moved to one side of the ship and began his trading call out to the locals  Hundreds of people came out to the beach to trade and canoes were launched  When they were within firing range, the ship fired on the Hawaiians, killing over 100  Six weeks later, Fair American was stuck near the Kona coast of Hawaii where chief Kameʻeiamoku was living, near Kaʻūpūlehu  He had decided to attack the next foreign ship to avenge the strike by the elder Metcalfe  He canoed out to the ship with his men, where he killed Metcalfe's son and all but one (Isaac Davis) of the five crewmen  Kamehameha took Davis into protection and took possession of the ship  Eleanora was at that time anchored at Kealakekua Bay, where the ship's boatswain had gone ashore and been captured by Kamehameha's forces because Kamehameha believed Metcalfe was planning more revenge  Eleanora waited several days before sailing off, apparently without knowledge of what had happened to Fair American or Metcalfe's son  Davis and Eleanora's boatswain, John Young, tried to escape, but were treated as chiefs, given wives and settled in Hawaii 

Invasion of Maui
In 1790 Kamehameha's army invaded Maui with the assistance of John Young and Isaac Davis  Using cannons from the Fair American, they defeated Maui's army at the bloody Battle of Kepaniwai while the aliʻi Kahekili II was on Oahu 

Death of Keōua Kuahuula
In 1790 Kamehameha advanced against the district of Puna deposing Keawemaʻuhili  At his home in Kaʻū, where he was exiled, Keōua Kūʻahuʻula took advantage of Kamehameha's absence in Maui and began an uprising  When Kamehameha returned, Keōua escaped to the Kīlauea volcano, which erupted  Many warriors died from the poisonous gas emitted from the volcano When the Puʻukoholā Heiau was completed in 1791, Kamehameha invited Keōua to meet with him  Keōua may have been dispirited by his recent losses  He may have mutilated himself before landing so as to render himself an inappropriate sacrificial victim  As he stepped on shore, one of Kamehameha's chiefs threw a spear at him  By some accounts, he dodged it but was then cut down by musket fire  Caught by surprise, Keōua's bodyguards were killed  With Keōua dead, and his supporters captured or slain, Kamehameha became King of Hawaiʻi island 

Maui and Oʻahu
In 1795, Kamehameha set sail with an armada of 960 war canoes and 10,000 soldiers  He quickly secured the lightly defended islands of Maui and Molokaʻi at the Battle of Kawela  He moved on to the island of Oʻahu, landing his troops at Waiʻalae and Waikīkī  Kamehameha did not know that one of his commanders, a high-ranking aliʻi named Kaʻiana, had defected to Kalanikūpule  Kaʻiana assisted in cutting notches into the Nuʻuanu Pali mountain ridge; these notches, like those on a castle turret, were to serve as gunports for Kalanikūpule's cannon   In a series of skirmishes, Kamehameha's forces pushed Kalanikūpule's men back until they were cornered on the Pali Lookout  While Kamehameha moved on the Pali, his troops took heavy fire from the cannon  He assigned two divisions of his best warriors to climb to the Pali to attack the cannons from behind; they surprised Kalanikūpule's gunners and took control  With the loss of their guns, Kalanikūpule's troops fell into disarray and were cornered by Kamehameha's still-organized troops  A fierce battle at Nuʻuanu ensued, with Kamehameha's forces forming an enclosing wall  Using traditional Hawaiian spears, as well as muskets and cannon, they killed most of Kalanikūpule's forces  Over 400 men were forced over the Pali's cliff, a drop of 1,000 feet  Kaʻiana was killed during the action; Kalanikūpule was later captured and sacrificed to Kūkāʻilimoku In April 1810, Kamehameha I negotiated the peaceful unification of the islands with Kauaʻi  His court genealogist and high priest Kalaikuʻahulu was instrumental in the monarch's decision not to kill Kaumualiʻi, the ruler of that island, when he was the single member of the aliʻi council to agree with Kamehameha's own reluctance to do so  The other aliʻi continued with the plan to poison Kaumualiʻi when Isaac Davis warned him, making the ruler cut his trip short and return to Kauaʻi, leaving Davis to be poisoned by the aliʻi instead 

Aliʻi nui of the Hawaiian Islands
As ruler, Kamehameha took steps to ensure the islands remained a united realm after his death  He unified the legal system  He used the products collected in taxes to promote trade with Europe and the United States 
The origins of the Law of the Splintered Paddle are derived from before the unification of the Island of Hawaiʻi  In 1782 during a raid, Kamehameha caught his foot in a rock  Two local fishermen, fearful of the great warrior, hit Kamehameha hard on the head with a large paddle, which broke the paddle  Kamehameha was stunned and left for dead, allowing the fisherman and his companion to escape  Twelve years later, the same fishermen were brought before Kamehameha for punishment  The king instead blamed himself for attacking innocent people, gave the fishermen gifts of land and set them free  He declared the new law, "Let every elderly person, woman, and child lie by the roadside in safety "Young and Davis became advisors to Kamehameha and provided him with advanced weapons that helped in combat  Kamehameha was also a religious king and the holder of the war god Kūkāʻilimoku  The explorer George Vancouver noted that Kamehameha worshiped his gods and wooden images in a heiau, but originally wanted to bring England's religion, Christianity, to Hawaiʻi  Missionaries were not sent from Great Britain because Kamehameha told Vancouver that the gods he worshiped were his gods with mana, and that through these gods, Kamehameha had become supreme ruler over all of the islands  Witnessing Kamehameha's devotion, Vancouver decided against sending missionaries from England 

Later life
After about 1812, Kamehameha spent his time at Kamakahonu, a compound he built in Kailua-Kona  As was the custom of the time, he had several wives and many children, though he outlived about half of them 

Final resting place
When Kamehameha died on May 8 or 14, 1819, his body was hidden by his trusted friends, Hoapili and Hoʻolulu, in the ancient custom called hūnākele (literally, "to hide in secret")  The mana, or power of a person, was considered to be sacred  As per the ancient custom, his body was buried in a hidden location because of his mana  His final resting place remains unknown  At one point in his reign, Kamehameha III asked that Hoapili show him where his father's bones were buried, but on the way there Hoapili knew that they were being followed, so he turned around 

Family
Kamehameha had many wives  The exact number is debated because documents that recorded the names of his wives were destroyed  Hiram Bingham I lists 21 wives, but earlier research from Mary Kawena Pukui counted 26  In Kamehameha's Children Today authors Charles Ahlo, Rubellite Kawena Johnson and Jerry Walker list 30 wives: 18 who had children, and 12 who did not  They state the total number of children to be 35: 17 sons and 18 daughters  While he had many wives and children, only his children through his highest-ranking wife, Keōpūolani, succeeded him to the throne  In Ho`omana: Understanding the Sacred and Spiritual, Chun stated that Keōpūolani supported Kaʻahumanu's ending of the Kapu system as the best way to ensure that Kamehameha's children and grandchildren would rule the kingdom 

In popular culture
Kamehameha I is the namesake of Goku's signature technique and energy attack in the Japanese media franchise Dragon Ball  Series creator Akira Toriyama has said that he named the attack after Kamehameha thanks to his wife's advice 
Kamehameha I is the leader of the civilization of Polynesia in 2010's Civilization V and speaks in his native Hawaiian 

Citations
Passage 6:
Baglan Mailybayev
Baglan Mailybayev (Kazakh: Бағлан Асаубайұлы Майлыбаев, Bağlan Asaubaiūly Mailybaev) was born on 20 May 1975 in Zhambyl region, Kazakhstan  His nationality is Kazakh  He is a politician of the Republic of Kazakhstan, Deputy Head of the Presidential Administration of the Republic of Kazakhstan, Doctor of Law (2002) (under the supervision of Professor Zimanov S Z  – scientific advisor and academician of National Academy of Sciences of the Republic of Kazakhstan) and PhD in political science (1998) 

Biography
In 1996 he obtained a bachelor's degree in journalism from the Kazakh State National University named after Al-Farabi 
In 1998 he was awarded a degree of PhD in political science after graduating from a graduate school of Political Science and Political Administration of the Russian Academy of Public Administration under the president of the Russian Federation 
Between 1998 and 2002 he used to work as a senior researcher at the Institute of State and Law of the National Academy of Sciences of the Republic of Kazakhstan as well as a lecturer at the Kazakh State University of International Relations and World Languages named after Abylai Khan 
Between February and May 2002 he worked as the Head of Mass Media Department of the Ministry of Culture, Information and Public Accord of the Republic of Kazakhstan 
Between May 2002 and September 2003 he was a President of the Joint Stock Company "Republican newspaper "Kazakhstanskaya Pravda"" 
Between September 2003 and December 2004 he was a President of the Joint Stock Company "Zan" 
Since December 2004 he had served as the Head of the Press office of the President of the Republic of Kazakhstan 
Since October 2008 he had been a Chairman of the Committee of Information and Archives of Ministry of Culture and Information of the Republic of Kazakhstan 
Since December 2008 he had been a Vice Minister of Culture and Information of the Republic of Kazakhstan 
Between June 2009 and October 2011 he worked as Press Secretary of the President of the Republic of Kazakhstan 
In October 2011 he was appointed as a Deputy Head of the Presidential Administration of the Republic of Kazakhstan by the Presidential decree 

Personal life
Marital status: He is married and has two children 

Awards
Baglan Mailybayev was awarded "Kurmet", "Parasat" orders, medals and a letter of acknowledgement of the President of the Republic of Kazakhstan  In 1998 he became a prizewinner at the award of Young Scientists of National Academy of Sciences of the Republic of Kazakhstan 

Publications
He is the author of 4 monographs and more than 150 scientific publications, published in Kazakhstani as well as in foreign editions  He is also the author of a number of feature stories, supervisor and a scriptwriter of television projects and documentaries 

Research interests
Comparative Political Science, Theory of State and Law, History of State and Law, Constitutional Law 
Language abilities: He speaks Kazakh, Russian and English fluently 

Note
The predecessor of Baglan Mailybayev at the position of a Deputy Head of the Presidential Administration of the Republic of Kazakhstan was Maulen Ashimbayev 
Passage 7:
Nayelly Hernández
Nayelly Hernández (born 23 February 1986) is a former Mexican professional squash player  She has represented Mexico internationally in several international competitions including the Central American and Caribbean Games, Pan American Games, Women's World Team Squash Championships  Nayelly achieved her highest career ranking of 57 in October 2011 during the 2011 PSA World Tour  Her husband Chris Walker whose nationality is English is also a professional squash player  She joined the Trinity College in 2008 as the first Mexican female to join a US college for squash and graduated in 2010 

Career
Nayelly joined PSA in 2006 and took part in the PSA World Tour until 2016, the 2015-16 PSA World Tour was her last World Tour prior to the retirement 
Nayelly Hernandez represented Mexico at the 2007 Pan American Games and claimed a bronze medal as a part of the team event on her maiden appearance at the Pan American Games  In the 2011 Pan American Games she clinched gold in the women's doubles event along with Samantha Teran and settled for bronze in the team event  She has also participated at the Women's World Team Squash Championships on four occasions in 2010, 2012, 2014 and in 2016 
Passage 8:
Ali Rahuma
Ali Khalifa Rahuma (Arabic: علي ارحومه)  (born May 16, 1982) is a Libyan football midfielder, also a Libyan national  He currently plays for Al-Ittihad, and is a member of the Libya national football team 

External links
Ali Rahuma at National-Football-Teams com
SoccerPunter  “Ali Khalifa Rahuma Profile and Statistics ” SoccerPunter  SoccerPunter, n d  Web  6 Sept  2016
Passage 9:
Fulco
Fulco may refer to:

Fulco of Ireland (fl  8th/9th century), Irish soldier and saint
Fulco of Basacers (fl  1120), Norman nobleman
Fulco I, Margrave of Milan (died 1128)
Fulco (bishop of Estonia) (fl  1165)
Fulco Luigi Ruffo-Scilla (1840–1895), Italian cardinal
Fulco Ruffo di Calabria (1884–1946), Italian aviator and politician
Fulco di Verdura (1898–1978), Italian jeweller
Fabio Fulco (born 1970), Italian actor
Giovanni Fulco (died c  1680), Italian baroque painter
William Fulco (born 1936), American Jesuit priest
Bettina Fulco (born 1968), Argentine tennis player

See also
Fulk, a given name
Falco (disambiguation)
Passage 10:
Roberto Savio
Roberto Savio (born in Rome, Italy, but also holding Argentine nationality) is a journalist, communication expert, political commentator, activist for social and climate justice  and advocate of global governance  He has spent most of his career with Inter Press Service (IPS), the news agency which he founded in 1964 along with Argentine journalist Pablo Piacentini Savio studied Economics at the University of Parma, followed by post-graduate courses in Development Economics under Gunnar Myrdal, History of Art and International Law in Rome  He started his professional career as a research assistant in International Law at the University of Parma 

Early activities
While at university, Roberto Savio acted as an international officer with Italy’s National Student Association and the Youth Movement of Italy’s Christian Democracy party, eventually taking on responsibility for Christian Democracy’s relations with developing countries  After leaving university, he became international press chief for former Italian Prime Minister Aldo Moro  After the 1973 Chilean coup d’etat, Roberto Savio left Italian politics to pursue journalism 

Early journalistic career
Roberto Savio’s career in journalism began with Italian daily ‘Il Popolo’ and he went on to become Director for News Services for Latin America with RAI, Italy’s state broadcasting company  He received a number of awards for TV documentaries, including the Saint-Vincent Award for Journalism, the most prestigious journalism award in Italy 

Inter Press Service (IPS)
Throughout his student years, Roberto Savio had cultivated an interest in analysing and explaining the huge information and communication gap that existed between the North and the South of the world, particularly Latin America  Together with Argentine journalist Pablo Piacentini, he decided to create a press agency that would permit Latin American exiles in Europe to write about their countries for a European audience 
That agency, which was known in the early days as Roman Press Agency, was the seed for what was to become the Inter Press Service (IPS) news agency, which was formally established at a meeting in the Schloss Eichholz conference centre of the Konrad Adenauer Foundation (the foundation of the CDU), in Wesseling near Bonn, then the capital city of West Germany 
From the outset, it was decided that IPS would be a non-profit cooperative of journalists and its statute declared that two-thirds of the members should come from the South 
Roberto Savio gave IPS its unique mission – “giving a voice to the voiceless” – acting as a communication channel that privileges the voices and the concerns of the poorest and creates a climate of understanding, accountability and participation around development, promoting a new international information order between the South and the North 
The agency grew rapidly throughout the 1970s and 1980s until the dramatic events of 1989-91 – the fall of the Berlin Wall and the collapse of the Soviet Union – prompted new goals and definitions: IPS was the first news outlet to identify itself as “global” and define the new concept of neoliberal globalisation as contributing to the distancing of developing countries from wealth, trade and policy-making 
IPS offers communication services to improve South–South cooperation and South-North exchanges and carries out projects with international partners to open up communication channels to all social sectors 
IPS has been recognised by the United Nations and granted NGO consultative status (category I) with ECOSOC 
With the strengthening of the process of globalisation, IPS has dedicated itself to global issues, becoming the news agency for global civil society: more than 30,000 NGOs subscribe to its services, and several million people are readers of its online services 
Under Roberto Savio, IPS won the Washington-based Population Institute’s “most conscientious news service” award nine time in the 1990s, beating out the major wire services year in and year out IPS won FAO’s A H  Boerma Award for journalism in 1997  for its "significant contribution to covering sustainable agriculture and rural development in more than 100 countries, filling the information gap between developed and developing countries by focusing on issues such as rural living, migration, refugees and the plight of women and children" 
On the initiative of Roberto Savio, IPS established the International Journalism Award in 1985 to honour outstanding journalists whose efforts, and often lives, contributed significantly to exposing human rights violations and advancing democracy, most often in developing countries  In 1991, the scope of the award was broadened to reflect the tremendous changes taking place in the world following the historic break-up of the Soviet Union and the end of the Cold War  The Award, renamed the International Achievement Award, was given in recognition of the work of individuals and organisations that “continue to fight for social and political justice in the new world order” 
Roberto Savio is now President Emeritus of IPS and Chairman of the IPS Board of Trustees, which also includes former U N  Secretary-General Boutros Boutros-Ghali, former Portuguese President Mario Soares, former UNESCO Director-General Federico Mayor Zaragoza, former Finnish President and Nobel Peace Prize laureate Martti Ahtisaari, former Costa Rican President and Nobel Peace Prize laureate Oscar Arias and former Japanese Prime Minister Toshiki Kaifue 
After stepping down as Director-General of IPS, Roberto Savio has continued his interest in “alternative” communication and information, founding Other News as an international non-governmental association of people concerned about the decline of the information media 

Other News
In 2008, Roberto Savio launched the online Other News service to provide “information that markets eliminate” 
Other News publishes reports that have already appeared in niche media but not in mass circulation media, in addition to opinions and analyses from research centres, universities and think tanks – material that is intended to give readers access to news and opinion that they will not find in their local newspapers but which they might wish to read “as citizens who care about a world free from the pernicious effects of today’s globalisation” 
Other News also distributes daily analysis on international issues, particularly the themes of global governance and multilateralism, to several thousand policy-makers and leaders of civil society, in both English and Spanish 

Communication initiatives
An internationally renowned expert in communications issues, Roberto Savio has helped launched numerous communication and information projects, always with an emphasis on the developing world 
Among others, Roberto Savio helped launch the National Information Systems Network (ASIN) for Latin America and the Caribbean,  the UNESCO-sponsored Agencia Latinoamericana de Servicios Especiales de Informacion [Latin American Special Information Services Agency] (ALASEI), and the Women’s Feature Service (WFS), initially an IPS service and now an independent NGO with headquarters in New Delhi 
He also founded the Technological Information Promotion System (TIPS), a major U N  project to implement and foster technological and economic cooperation among developing countries, and he developed Women into the New Network for Entrepreneurial Reinforcement (WINNER), a TIPS training project aimed at educating and empowering small and medium woman entrepreneurs in developing countries  The activities of TIPS are currently carried by the executing agency, Development Information Network (DEVNET), an international association which Roberto Savio helped create and which has been recognised by the United Nations as an NGO holding consultative status (category I) with the U N  Economic and Social Council (ECOSOC) 
Roberto Savio has also been actively involved in promoting exchanges between regional information services, such as between ALASEI and the Organisation of Asian News Agencies (OANA) now known as the Organisation of Asia-Pacific News Agencies, and between the PanAfrican News Agency (PANA) and the Federation of Arab News Agencies (FANA) 
Roberto Savio was instrumental in placing the concept of a Development Press Bulletin Service Tariff on the agenda of UNESCO’s International Commission for the Study
of Communication Problems (MacBride Commission) 
Roberto Savio has also worked closely in the field of information and communication with many United Nations organisations, including the United Nations Development Programme (UNDP), the United Nations Environment Programme (UNEP), the United Nations Educational, Scientific and Cultural Organisation (UNESCO), the United Nations Population Fund (UNFPA), the United Nations Children’s Fund (UNICEF) and the United Nations Institute for Training and Research (UNITAR) 

Achievements and awards
In 1970, Roberto Savio received the Saint-Vincent Award for Journalism, the most prestigious journalism award in Italy, for a five-part series on Latin America which was recognised as “best TV transmission” 
He was awarded the Hiroshima Peace Award in 2013 for his “contribution towards the construction of a century of peace by ‘giving voice to the voiceless’ through Inter Press Service for nearly five decades”  The award was established by Soka Gakkai, a lay Buddhist organisation based in Tokyo 
He received the Joan Gomis Memorial Award (Catalunya) for Journalism for Peace in 2013 In October 2016, during the 31st Festival of Latin American Cinema in Trieste, Italy, Roberto Savio received the "Salvador Allende" award, given to honour a personality from the world of culture, art or politics who actively supported the conservation of Latin America's rich history and culture In 2019, he received a special diploma from the President of Chile, Michelle Bachelet, for his role of solidarity during the Chilean military dictatorship 
He was appointed by President of the Republic Mattarella, one of the twelve Knights of the Order of Merit of the Italian Republic for 2021  He also received an honorary degree in political science from the United Nations Peace University in 2021 

Advisory activities
Roberto Savio served as Senior Adviser for Strategies and Communication to the Director General of the International Labour Organization (ILO) from 1999 to 2003  He also served as an internal communication consultant to Catherine Bertini, Executive Director of the World Food Programme (WFP), in 2000 

Affiliations
From 1999 to 2003, Roberto Savio was a board member of the Training Centre for Regional Integration, based in Montevideo, Uruguay 
After several years as a member of the Governing Council of the Society for International Development (SID), the world’s oldest international civil society development organisation, he was elected Secretary-General for three terms, and is now the organisation’s Secretary-General Emeritus 
Roberto Savio was founder and President of Indoamerica, an NGO that promotes education in poor areas of Argentina suffering from social breakdown 
He has been a member of the International Committee of the World Social Forum (WSF) since it was established in 2001, a member of the International Council and was elected as Coordinator of the ‘Media, Culture and Counter-Hegemony’ thematic area at WSF 2003 
Roberto Savio is co-founder of Media Watch International, based in Paris, of which he is Secretary General 
Until 2009, Roberto Savio was Chairman of the Board of the Alliance for a New Humanity, an international foundation established in Puerto Rico, which has been promoting the culture of peace since 2001 and whose Board includes thinker Deepak Chopra, Spanish judge Balthazar Garzon, Nobel prize winners Oscar Arias and Betty Williams, and philanthropists Ray Chambers, Solomon Levis and Howard Rosenfield  He is now a member of the Board He is Deputy Director of the Scientific Council of the New Policy Forum (formerly the World Policy Forum), founded by Mikhail Gorbachev and based in Luxembourg, to provide a space for reflection and new thinking on the current international situation by influential global leaders 
Roberto Savio is responsible for international relations of the European Centre for Peace and Development, based in Belgrade, whose mission is to contribute to peace and development in Europe and to international cooperation in the transfer of knowledge based on the premise that development under conditions of peace is only possible when conceived as human development 
Roberto Savio is Chairman of Accademia Panisperna, a cultural meeting space in the centre of Rome, and is President of Arcoiris TV, an online TV channel with the world’s largest collection of videos and registrations of political and cultural events (over 70,000 hours), based in Modena, Italy 
In 2016, Roberto Savio started contributing on a monthly basis to the Wall Street International Magazine with an economical and political column 

Films and publications
In 1972, Roberto Savio produced a three-part documentary on Che Guevara titled ‘Che Guevara – Inchiesta su un mito’ (Che Guevara – Investigation of a Myth), and has also produced five films, two of which were presented at the Venice and Cannes film festivals 
Roberto Savio has published several books, including ‘Verbo America’ together with Alberto Luna (1990), which deals with the cultural identity of Latin America, and ‘The Journalists Who Turned the World Upside Down’ (2012), which has been published in three languages (English, Italian and Spanish),  is a collection of narratives by over 100 IPS journalists and key global players, including Nobel Peace Prize laureates, who have supported the agency  It looks at information and communication as key elements in changes to the old post-Second World War and post-Cold War worlds  It provides an insight into the idealism that fired many of those who worked for the agency as well as the high esteem in which it was held by many prominent figures in the international community 
In October 2016, Roberto Savio presented the first Other News publication: “Remembering Jim Grant: Champion for Children”, an online edition of the book dedicated to Jim Grant, UNICEF Executive Director 1980-1995, who saved 25 million children

Current activities
Roberto Savio is currently engaged in a campaign for the governance of globalisation and social and climate justice, which takes him as a speaker to numerous conferences worldwide, and about which he produces a continuous stream of articles and essays He is Deputy Director of the Scientific Council of the New Policy Forum (formerly the World Policy Forum), founded by Mikhail Gorbachev and based in Luxembourg, to provide a space for reflection and new thinking on the current international situation by influential global leaders 
Roberto Savio is responsible for international relations of the European Centre for Peace and Development, based in Belgrade, whose mission is to contribute to peace and development in Europe and to international cooperation in the transfer of knowledge based on the premise that development under conditions of peace is only possible when conceived as human development 
Roberto Savio is Chairman of Accademia Panisperna, a cultural meeting space in the centre of Rome, and is President of Arcoiris TV, an online TV channel with the world’s largest collection of videos and registrations of political and cultural events (over 70,000 hours), based in Modena, Italy 
Member of the Executive Committee for Fondazione Italiani, established in Rome, which publishes an online weekly magazine and organizes conferences about global issues 
Member of the  Maurice Strong Sustainability Award Selection Panel, established by the Global Sustainability Forum 

External links
Roberto Savio's stories published by IPS News
Other News service
Roberto Savio's stories on Other News
Other News Facebook page
Roberto Savio's Facebook page
PREMIO SALVADOR ALLENDE A ROBERTO SAVIOInterviews and Articles

The ‘Acapulco Paradox’ – Two Parallel Worlds Each Going Their Own Way
What if Youth Now Fight for Social Change, But From the Right?
Global governance and common values: the unavoidable debate
Banks, Inequality and Citizens
It is now official: the current inter-governmental system is not able to act in the interest of humankind
Europe has lost its compass
Ever Wondered Why the World is a Mess?
Sliding Back to the Victorian Age
Global Inequality and the Destruction of Democracy
A Future With No Safety Net? How Brutal Austerity Cuts Are Dismantling the European Dream
WE NEED BETTER, NOT MORE, INFORMATION
Context 2: Passage 1:
Rumbi Katedza
Rumbi Katedza is a Zimbabwean Film Producer and Director who was born on 17 January 1974 

Early life and education
She did her Primary and Secondary Education in Harare, Zimbabwe  Katedza graduated with a Bachelor of Arts in English from McGill University, Canada in 1995  In 2008 Katedza received the Chevening Scholarship that enabled her to further her studies in film  She also holds a MA in Filmmaking from Goldsmiths College, London University 

Work and filmography
Katedza has experience in Film and TV Production, Directing, Writing as well as Producing and presenting Radio shows  From 1994 to 2000, She produced and presented radio shows on Women's issues, Arts and Culture, Hip Hop and Acid Jazz for the CKUT (Montreal) and ZBC Radio 3 (Zimbabwe)  From 2004 - 2006, she served as the Festival Director of the Zimbabwe International Film Festival  Whilst there, she produced the Postcards from Zimbabwe Series  In 2008, Katedza founded Mai Jai Films and has produced numerous films and television productions under the banner namely

Tariro (2008);
Big House, Small House (2009);
The Axe and the Tree (2011);
The Team (2011)
Playing Warriors (2012)Her early works include:

Danai (2002);
Postcards from Zimbabwe (2006);
Trapped (2006 – Rumbi Katedza, Marcus Korhonen);
Asylum (2007);
Insecurity Guard (2007)Rumbi Katedza is a part-time lecturer at the University of Zimbabwe, in the department of Theatre Arts  She is a judge and monitor at the National Arts Merit Awards, responsible for monitoring new film and TV productions throughout the year on behalf of the National Arts Council of Zimbabwe  She has also lobbied Zimbabwean government to actively support the film industry 
Passage 2:
Sam the Man
Sam the Man is a 2001 American film directed by Gary Winick and starring Fisher Stevens 

Plot
A writer having difficulty completing his second novel goes on a journey of self-discovery 

Cast
External links
Sam the Man at IMDb
Sam the Man at Rotten Tomatoes
Passage 3:
The Man Is Armed
The Man Is Armed is a 1956 film noir crime film directed by Franklin Adreon starring Dane Clark, William Talman, May Wynn and Robert Horton 

Plot
Framed by another man, truck driver Johnny Morrison serves a year in prison  After his release, Johnny confronts the man, Mitch Mitchell, who plunges off a roof to his death 
Johnny then learns that his former employer, Hackett, was the one who set him up as a fall guy  Hackett claims it was a test of loyalty, and since Johnny passed, he now stands to earn $100,000 for helping Hackett pull off the robbery of an armored transport company 
Johnny's old girlfriend, Carol Wayne, still has feelings for him, even though she has been seeing Mike Benning, a young doctor  While the death of Mitchell is investigated by police Lt  Coster as a homicide, Johnny and three other thugs pull off the heist 
Unable to get the loot to Hackett due to roadblocks, Johnny hides out  Hackett, believing he has been double-crossed, shoots Johnny and buries the money on his family farm, but the police catch up to him  A wounded Johnny knocks out Mike and abducts Carol, but collapses and dies after a few steps  Mike leads Carol away as the cops arrive 

Cast
Dane Clark as Johnny Morrison
William Talman as Hackett
May Wynn as Carol Wayne
Robert Horton as Dr  Michael Benning
Barton MacLane as Det  Lt  Dan Coster
Fredd Wayne as Egan
Richard Benedict as Lew 'Mitch' Mitchell
Richard Reeves as Rutberg
Harry Lewis as Cole
Bobby Jordan as Thorne
Larry J  Blake as Ray Perkins
Darlene Fields as Terrycloth
John Mitchum as Officer

See also
List of American films of 1956
Passage 4:
Wolf Warrior
Wolf Warrior (Chinese: 战狼) is a 2015 Chinese war film written and directed by Wu Jing  It stars Wu Jing along with Scott Adkins, Yu Nan and Kevin Lee  It was released on 2 April 2015  A sequel, titled Wolf Warrior 2, was released in China in 2017 and became the all-time highest-grossing film in China 

Plot
In 2008, a combined task group of People's Liberation Army Special Operations Forces and Chinese police raid a drug smuggling operation in an abandoned chemical facility in southern China  The leader of the smuggling operation, Wu Ji, holds one of his own men hostage while taking cover behind a section of the facility's reinforced wall 
Leng Feng, a skilled PLA sniper, ignores orders to stand down and fires three shots at a weak section of the wall, penetrating through on the third shot and killing Wu Ji  Leng Feng is sent to solitary confinement as punishment, but is approached by Long Xiaoyun, the female commander of the legendary 'Wolf Warriors', an elite unit within the PLA tasked with simulating foreign tactics for the PLA to train against  Long Xiaoyun offers Leng Feng a place in the Wolf Warriors  Meanwhile, in the Philippines, crime lord Min Deng, the older brother of Wu Ji, hires ex-US Navy SEAL “Tom Cat” (Scott Adkins) and his group to assassinate Leng Feng and avenge his brother 
The Wolf Warriors participate in a training exercise in a remote and uninhabited forested region on China's southern border  During the exercise, Tom Cat and his mercenaries ambush a Wolf Warrior squad, killing one of Leng Feng's comrades  Subsequently, the PLA and the Wolf Warriors are tasked with hunting down Tom Cat‘s squad to restore their honor  The combined infantry force move into the forest but are delayed by multiple traps set by Tom Cat and pinned down by sniper fire until Leng Feng manages to kill the shooter  Afterwards, the rest of the PLA force engages Tom Cat's other mercenaries, who stage a fighting retreat but are eventually overwhelmed and killed one by one  Meanwhile, Long Xiaoyun and the other PLA commanders deduce that Ming Deng himself is also in the training area to take possession of a smuggled cache of biotechnology, which could allow the creation of a genetic weapon that could target Chinese people exclusively 
Leng Feng eventually catches Tom Cat just before China's southern border  Leng Feng is nearly defeated, but manages to kill Tom Cat with his own knife  Medical personnel from a PLA relief force arrive, but Leng Feng recognises the wrist tattoo of the medic that approaches him and realizes that they are Min Deng's men in PLA uniforms  He attacks them, eventually holding Min Deng himself at bayonet point on the very edge of the Chinese border  Min Deng's paramilitary force approaches from the other side of the border, but so do the rest of the Wolf Warriors and PLA soldiers  Min Deng's force retreats, leaving him to be arrested 

Cast
Wu Jing as Leng Feng, a marksman in the People's Liberation Army who was initially court martialled and reprimanded for failing to obey a direct order during an operation  He is later recruited into a Chinese Special Forces Unit called "War Wolf" after Long Xiaoyun takes an interest in him 
Yu Nan as Lieutenant Colonel Long Xiaoyun, Commander of the Chinese Special Forces Unit "War Wolf"
Ni Dahong as Ming Deng, a drug lord who hires a group of foreign mercenaries to avenge his brother's death at the hands of Leng Feng 
Scott Adkins as "Tom Cat," a former US Navy SEAL turned mercenary, who is hired by Meng Deng to kill Leng Feng
Kevin Lee as "Mad Cow"
Shi Zhaoqi
Zhou Xiaoou
Fang Zibin
Guo Guangping
Ru Ping
Hong Wei
Wang Sen
Zhuang Xiaolong
Chris Collins

Production
The script went through 14 drafts over seven years  In order to portray more realistic combat scenes, the movie used five missiles (each at a value of one million yuan), more than 30,000 rounds of ammunition, and a variety of Chinese active military aircraft, including the Chengdu J-10, Harbin Z-9, and CAIC Z-10  In one large battle scene, 32 active tanks appeared in the same shot, including a Type 96 tank In order to prepare for the film, with the support of Chinese PLA Nanjing Military Region, Wu Jing trained for 18 months at a camp in Nanjing Military Region  
On the first day of shooting, it was the hottest summer in Nanjing's history  The temperature was up to 49 8 °C, making 5 extra actors suffer from shock 
Most of the film was made on location in Jiangsu province, at sites including Nanjing and Sun Yat-sen Mausoleum 

Box office
As of 25 May 2015, it has earned US$89 11 million in China In China, it opened on 2 April 2015, earning US$33 32 million in its 4-day opening weekend topping the Chinese box office  In its second weekend, it fell to number two, earning US$36 19 million (behind Furious 7) 

Critical response
The film had an overall rating of 6 8 on the Chinese review site Douban as of August 2017  Variety magazine wrote: "To a layperson's eyes, the military exercise does look authentic, and the cross-country skirmishes are ruggedly watchable on an acrobatic level  Yet it's impossible to overlook the inanity of the plotting" 

Awards
International influence
Wolf Warrior and its sequel, Wolf Warrior 2, are the namesake of China's aggressive 'wolf warrior diplomacy' under Xi Jinping's administration 
Passage 5:
Edward Yates
Edward J  Yates (September 16, 1918 – June 2, 2006) was an American television director who was the director of the ABC television program American Bandstand from 1952 until 1969 

Biography
Yates became a still photographer after graduating from high school in 1936  After serving in World War II, he became employed by Philadelphia's WFIL-TV as a boom microphone operator  He was later promoted to cameraman (important as most programming was done live and local during the early years of television) and earned a bachelor's degree in communications in 1950 from the University of Pennsylvania 
In October 1952, Yates volunteered to direct Bandstand, a new concept featuring local teens dancing to the latest hits patterned after the "950 Club" on WPEN-AM  The show debuted with Bob Horn as host and took off after Dick Clark, already a radio veteran at age 26, took over in 1956 
It was broadcast live in its early years, even after it became part of the ABC network's weekday afternoon lineup in 1957 as American Bandstand  Yates pulled records, directed the cameras, queued the commercials and communicated with Clark via a private line telephone located on his podium 
In 1964, Clark moved the show to Los Angeles, taking Yates with him



ground_truth: Kingdom of Hawaii

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

Question: Which film has the director who was born later, The Man Is Armed or Wolf Warrior?

The following are given passages.
Context 2: 
Yates retired from American Bandstand in 1969, and moved his family to the Philadelphia suburb of West Chester 
He died in 2006 at a nursing home where he had been for the last two months of his life 

External links
Edward Yates at IMDb
Passage 6:
Arms and the Man (1932 film)
Arms and the Man is a 1932 British film based on the play Arms and the Man by George Bernard Shaw  It was written and directed by Cecil Lewis 
Passage 7:
Wu Jing (actor)
Wu Jing, also known as Jacky Wu, (Chinese: 吴京; pinyin: Wú Jīng; born 3 April 1974) is a Chinese actor, director and martial artist best known for his roles in various martial arts films such as Tai Chi Boxer, Fatal Contact, the Sha Po Lang films, and as Leng Feng in Wolf Warrior, its sequel Wolf Warrior 2, and most recently The Battle at Lake Changjin  Wu Jing is one of the most profitable actors in China and his movies are often the highest grossed films in China and around the world  Wu ranked first on the Forbes China Celebrity 100 list in 2019 and 23rd in 2020 

Career
In April 1995, Wu was spotted by martial arts choreographer Yuen Woo-ping, Wu played Hawkman / Jackie in 1996 film Tai Chi Boxer, his first Hong Kong film debut  Since then Wu has appeared in numerous mainland Chinese wuxia television series  He has also worked with choreographer and director Lau Kar-leung in 2003 film Drunken Monkey  Wu achieved success in Hong Kong action cinema for his role as a vicious assassin in 2005 film SPL: Sha Po Lang In 2006, Wu was continuing his move into Hong Kong cinema by starring in the film Fatal Contact  Wu is the male lead in 2007 film Twins Mission, starring the Twins duo  He also worked on the police action film Invisible Target which was released in July 2007 In March 2008, Wu made his directorial debut, alongside action choreographer Nicky Li, on his film Legendary Assassin 
Wu played the Assassin in The Mummy: Tomb of the Dragon Emperor his American film debut Wu played Jing Neng in 2011 martial arts film Shaolin alongside Nicholas Tse, Andy Lau and Jackie Chan  Wu reprised a different role as Chan Chi-kit in the 2015 Hong Kong action film SPL II: A Time for Consequences Wu directed and starred in the action war film Wolf Warrior and its 2017 sequel Wolf Warrior 2  The latter film has become a hit at the Chinese summer box office and became the highest grossing film in China In 2019, Wu starred in hit film The Wandering Earth, based on a novella of the same name by Liu Cixin  When he discovered that the production team lacked funds to complete the film, he invested his own money to make up for the shortfall  The film ended up grossing $700 million worldwide, including $691 million in China but only 9 million for the rest of the world combined  It became China's third highest-grossing film of all time, 2019's third highest-grossing film worldwide, the second highest-grossing non-English film to date, and one of the top 20 highest-grossing science fiction films to date 

Personal life
Wu Jing and Xie Nan's relationship began in 2012 and they got married in 2014  On 25 August 2014, Wu Jing's wife gave birth to a son Wu Suowei (吴所谓) (also named as Wu You (吴滺))  On 24 September 2018, they had a second son Wu Lü (吴律) 

Filmography
Film
Television series
Accolades
Passage 8:
Franklin Adreon
Franklin "Pete" Adreon (November 18, 1902 – September 10, 1979) was an American film and television director, producer, screenwriter, and actor 

Early life and career
Born in Gambrills, Maryland, Adreon was a Marine Reservist during the 30s, and served in the United States Marine Corps in World War II   Serving initially with the 6th Marines in Iceland, Major Adreon was put in charge of the Marine Corps Photographic Unit in Quantico Adreon, an ex-bond salesman who entered motion pictures in 1935 with no experience, landed some small paying jobs, including as a technical advisor on the serial The Fighting Marines (in which he also appeared in the role of Captain Holmes)   This led to a writing position at Mascot Pictures and its successor Republic Pictures   Adreon stayed with the serial unit and soon, through hard work and toil, was awarded the title of associate producer  Adreon stayed with the studio for nearly all of its short life  He worked with serial director William Witney at Republic Pictures, who was also in the Marines in the war 
He then worked as a director, producer, and writer on various television series and films 
Adreon died on September 10, 1979, in Thousand Oaks, California, at the age of 76 

Selected filmography
Passage 9:
W  Augustus Barratt
W  Augustus Barratt (3 June 1873 – 12 April 1947) was a Scottish-born, later American, songwriter and musician 

Early life and songs
Walter Augustus Barratt was born 3 June 1873 in Kilmarnock, the son of composer John Barratt; the family later lived in Paisley  In 1893 he won a scholarship for composition to the Royal College of Music 
In his early twenties he contributed to The Scottish Students' Song Book, with three of his own song compositions and numerous arrangements 
By the end of 1897 he had published dozens of songs, such as Sir Patrick Spens, The Death of Cuthullin, an album of his own compositions, and arrangements of ten songs by Samuel Lover 
He then, living in London, turned his attention to staged musical comedy, co-creating, with Adrian Ross, The Tree Dumas Skiteers, a skit, based on Sydney Grundy's The Musketeers that starred Herbert Beerbohm Tree  He co-composed with Howard Talbot the successful Kitty Grey (1900) He continued to write songs and to receive recognition for them  The 1901 and 1902 BBC Promenade Concerts, "The Proms", included four of his compositions, namely Come back, sweet Love, The Mermaid, My Peggy and Private Donald 
His setting of My Ships, a poem by Ella Wheeler Wilcox, was performed by Clara Butt and republished several times  It also appeared four times, with different singers, in the 1913 and 1914 Proms 

America
In September 1904 he went to live in New York City, finding employment with shows on Broadway, including the following roles:

on-stage actor (Sir Benjamin Backbite) in Lady Teazle (1904-1905), a musical version of The School for Scandal;
musical director of The Little Michus (1907), also featuring songs by Barratt;
co-composer of Miss Pocahontas (1907), a musical comedy;
musical director of The Love Cure (1909–1910), a musical romance;
composer of The Girl and the Drummer (1910), a musical romance with book by George Broadhurst  Tried out in Chicago and elsewhere, it did not do well and never reached Broadway;
musical director of The Quaker Girl (1911–1912);
co-composer and musical director of My Best Girl (1912);
musical director of The Sunshine Girl (1913);
musical director of The Girl who Smiles (1915), a musical comedy;
musical director and contributor to music and lyrics of Her Soldier Boy (1916–1917);
composer, lyricist and musical director of Fancy Free (1918), with book by Dorothy Donnelly and Edgar Smith;
contributor of a song to The Passing Show of 1918;
composer and musical director of Little Simplicity (1918), with book and lyrics by Rida Johnson Young;
contributor of lyrics to The Melting of Molly (1918–1919), a musical comedy;
musical director of What's in a Name? (1920), a musical revue

1921 in London
Though domiciled in the US, he made several visits back to England  During an extended stay in 1921 he played a major part in the creation of two shows, both produced by Charles B  Cochran, namely

League of Notions, at the New Oxford Theatre, for which he composed the music and co-wrote, with John Murray Anderson, the lyrics;
Fun of the Fayre, at the London Pavilion, for which similarly he wrote the music and co-wrote the lyrics

Back to Broadway
Back in the US he returned to Broadway, working as
composer and lyricist of Jack and Jill (1923), a musical comedy;
musical director of The Silver Swan (1929), a musical romance

Radio plays
In later years he wrote plays and operettas mostly for radio, such as:

Snapshots: a radioperetta (1929)
Sushannah and the Brush Wielders: a play in 1 act (1929)
The Magic Voice: a radio series (1933)
Men of Action: a series of radio sketches (1933)
Say, Uncle: a radio series (1933)
Sealed Orders: a radio drama (1934)
Sergeant Gabriel (with Hugh Abercrombie) (1945)

Personal
In 1897 in London he married Lizzie May Stoner  They had one son  In 1904 he emigrated to the US and lived in New York City  His first marriage ended in divorce in 1915 and, in 1918, he married Ethel J Moore, who was American  In 1924, he became a naturalized American citizen  He died on 12 April 1947 in New York City 

Note on his first name
The book British Musical Biography by Brown & Stratton (1897) in its entry for John Barratt refers to "his son William Augustus Barratt" with details that make it clear that Walter Augustus Barratt is the same person and that a "William" Augustus Barratt is a mistake  For professional purposes up to about 1900 he appears to have written as "W  Augustus Barratt", and thereafter mostly as simply "Augustus Barratt" 
Passage 10:
Hassan Zee
Hassan "Doctor" Zee is a Pakistani-American film director who was born in Chakwal, Pakistan 

Early life
Doctor Zee grew up in Chakwal, a small village in Punjab, Pakistan  as one of seven brothers and sisters  His father was in the military and this fact required the family to move often to different cities  As a child Zee was forbidden from watching cinema because his father believed movies were a bad influence on children 
At age 13, Doctor Zee got his start in the world of entertainment at Radio Pakistan where he wrote and produced radio dramas and musical programs   It was then that he realized his passion for storytelling At the age of 26, Doctor Zee earned his medical doctorate degree and did his residency in a burn unit at the Pakistan Institute of Medical Sciences  He cared for women who were victims of  "Bride Burning," the archaic practice used as a form of punishment against women who fail to provide sufficient dowry to their in-laws after marriage or fail to provide offspring   He also witnessed how his country’s transgender and intersex people, called “hijras”, were banned from having jobs and forced to beg to survive  These experiences inspired Doctor Zee to tackle the issues of women’s empowerment and gender inequality in his films In 1999, he came to San Francisco to pursue his dream of filmmaking and made San Francisco his home

Education
He received his early education from Jinnah Public School, Chakwal  He got his medical doctor degree at Rawalpindi Medical College, Pakistan 

Film career
Doctor Zee's first film titled Night of Henna was released in 2005  The theme of the film dealt with "the conflict between Old World immigrant customs and modern Western ways   " Night of Henna focused on the problems of Pakistani expatriates who found it hard to adjust in American culture  Many often landed themselves in trouble when it came to marrying off their children 
His second film Bicycle Bride came out in 2010, which was about "the clash between the bonds of family and the weight of tradition " His third film House of Temptation that came out in 2014 was about a family which struggles against the temptations of the Devil  His fourth film “Good Morning Pakistan”, concerned a young American’s journey back to Pakistan where he confronts the contradictory nature of a beautiful and ancient culture that's marred by economic, educational and gender inequality His upcoming fifth film, "Ghost in San Francisco" is a supernatural thriller starring Felissa Rose, Dave Sheridan, and Kyle Lowder where a soldier comes home from Afghanistan to discover that his wife is having an affair with his best friend  While battling with his inner ghosts and demons, he meets a mysterious woman in San Francisco who promises him a ritual for his cure 
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  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



ground_truth: Wolf Warrior

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:  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  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