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

Question: Which song came out first, Joel The Lump Of Coal or Jugband Blues?

The following are given passages.
Context 1: Passage 1:
Cumulus (disambiguation)
Cumulus is a type of cloud with the appearance of a lump of cotton wool 
Cumulus may also refer to:

Computing and technology
Cumulus (software), digital asset management software developed by Canto Software
Cumulus Corporation, a defunct computer hardware company
Cumulus Networks, a computer software company

Gliders
Reinhard Cumulus, glider
US Aviation Cumulus, motorglider

Other uses
Cumulus Media, a radio broadcasting company
Cumulus oophorus, cells which surround a human egg after fertilisation
Passage 2:
Lump of labour fallacy
In economics, the lump of labour fallacy is the misconception that there is a finite amount of work—a lump of labour—to be done within an economy which can be distributed to create more or fewer jobs  It was considered a fallacy in 1891 by economist David Frederick Schloss, who held that the amount of work is not fixed The term originated to rebut the idea that reducing the number of hours employees are allowed to labour during the working day would lead to a reduction in unemployment  The term is also commonly used to describe the belief that increasing labour productivity, immigration, or automation causes an increase in unemployment  Whereas opponents of immigration argue that immigrants displace a country's workers, this is a fallacy, as the number of jobs in the economy is not fixed and immigration increases the size of the economy and may increase productivity, innovation, and overall economic activity, as well as reduce incentives for off-shoring and business closures, thus creating more jobs The lump of labor fallacy is also known as the lump of jobs fallacy, fallacy of labour scarcity, fixed pie fallacy, and the zero-sum fallacy—due to its ties to zero-sum games  The term "fixed pie fallacy" is also used more generally to refer to the idea that there is a fixed amount of wealth in the world  This and other zero-sum fallacies can be caused by zero-sum bias 

Immigration
The lump of labour fallacy has been applied to concerns around immigration and labour  Given a fixed availability of employment, the lump of labour position argues that allowing immigration of working-age people reduces the availability of work for native-born workers ("they are taking our jobs") However, skilled immigrating workers can bring capabilities that are not available in the native workforce, for example in academic research or information technology  Additionally, immigrating workforces also create new jobs by expanding demand, thus creating more jobs, either directly by setting up businesses (therefore requiring local services or workers), or indirectly by raising consumption  As an example, a greater population that eats more groceries will increase demand from shops, which will therefore require additional shop staff 

Employment regulations
Advocates of restricting working hours regulation may assume that there is a fixed amount of work to be done within the economy  By reducing the amount that those who are already employed are allowed to work, the remaining amount will then accrue to the unemployed  This policy was adopted by the governments of Herbert Hoover in the United States and Lionel Jospin in France, in the 35-hour working week (though in France various exemptions to the law were granted by later centre-right governments) Many economists agree that such proposals are likely to be ineffective, because there are usually substantial administrative costs associated with employing more workers  These can include additional costs in recruitment, training, and management that would increase average cost per unit of output  This overall would lead to a reduced production per worker, and may even result in higher unemployment 

Early retirement
Early retirement has been used to induce workers to accept termination of employment before retirement age following the employer's diminished labour needs  Government support for the practice has come from the belief that this should lead to a reduction in unemployment  The unsustainability of this practice has now been recognised, and the trend in Europe is now towards postponement of the retirement age In an editorial in The Economist a thought experiment is proposed in which old people leave the workforce in favour of young people, on whom they become dependent for their living through state benefits  It is then argued that since growth depends on having either more workers or greater productivity, the society cannot really become more prosperous by paying an increasing number of its citizens unproductively  The article also points out that even early retirees with private pension funds become a burden on society as they also depend on equity and bond income generated by workers 

Arguments in favor of the concept
There have been critiques of the idea that the concept is a fallacy  Arguments include that Schloss' concept is misapplied to working hours and that he was originally critiquing workers intentionally restricting their output, that prominent economists like John Maynard Keynes believed shorter working hours could allieviate unemployment, and that claims of it being a fallacy are used to argue against proposals for shorter working hours without addressing the non-economic arguments for them 

See also
Indivisibility of labour
Labour (economics)
Luddite fallacy
Parable of the broken window
Working time
Zero-sum bias
Passage 3:
The Lump of Coal
The Lump of Coal is a Christmas short story written by Lemony Snicket and illustrated by Brett Helquist  Originally published in the December 10–12, 2004 issue of the now-defunct magazine USA Weekend, it was re-released as a stand-alone book in 2008  It is meant to parody traditional children's Christmas stories, à la the 1823 poem 'Twas the Night Before Christmas  Though illustrated and relatively short, the book uses vocabulary above that of most children, including the term objets d'art  Many elements of the story are easily recognizable as Snicket-esque to A Series of Unfortunate Events readers, including a culturally intelligent and talented protagonist who is dismissed by many a mumpsimus 

Plot summary
It is Christmas time  A living lump of coal falls off a barbecue grill  He wishes for a miracle to happen  The lump of coal is artistic and wants to be an artist  He goes in search of something  First, he finds an art gallery that, he believes, shows art by lumps of coal  But when he comes in, he sadly discovers the art is by humans who use lumps of coal  He then finds a Korean restaurant called Mr  Wong's Korean Restaurant and Secretarial School, but he goes in and discovers that all things used must be 100% Korean (although the owner does not use a Korean name or proper Korean spices)  The lump of coal continues down the street and runs into a man dressed like Santa Claus  The lump of coal tells the man about his problem, and the man gets an idea  He suggests he put the lump of coal in Jasper (his bratty son)'s stocking  The son finds it and is ecstatic; he has wanted to make art with coal  So he makes portraits and he and the lump of coal become rich  They move to Korea and open an authentic Korean restaurant, and have a gallery of their art 

See also
Lemony Snicket bibliography
Passage 4:
Energy value of coal
The energy value of coal, or fuel content, is the amount of potential energy coal contains that can be converted into heat  This value can be calculated and compared with different grades of coal and other combustible materials, which produce different amounts of heat according to their grade 
While chemistry provides ways of calculating the heating value of a certain amount of a substance, there is a difference between this theoretical value and its application to real coal  The grade of a sample of coal does not precisely define its chemical composition, so calculating the coal's actual usefulness as a fuel requires determining its proximate and ultimate analysis (see "Chemical Composition" below) 

Chemical composition
Chemical composition of the coal is defined in terms of its proximate and ultimate (elemental) analyses  The parameters of proximate analysis are moisture, volatile matter, ash, and fixed carbon  Elemental or ultimate analysis encompasses the quantitative determination of carbon, hydrogen, nitrogen, sulfur and oxygen within the coal  Additionally, specific physical and mechanical properties of coal and particular carbonization properties 
The calorific value Q of coal [kJ/kg] is the heat liberated by its complete combustion with oxygen  Q is a complex function of the elemental composition of the coal  Q can be determined experimentally using calorimeters  Dulong suggests the following approximate formula for Q when the oxygen content is less than 10%: 

Q = 337C + 1442(H - O/8) + 93S,where C is the mass percent of carbon, H is the mass percent of hydrogen, O is the mass percent of oxygen, and S is the mass percent of sulfur in the coal   With these constants, Q is given in kilojoules per kilogram 

See also
Coal assay techniques
Energies per unit mass
Heat of combustion
Passage 5:
Jugband Blues
"Jugband Blues" is a song by the English psychedelic rock band Pink Floyd, released on their second album, A Saucerful of Secrets, in 1968  Written by Syd Barrett, it was his sole compositional contribution to the album, as well as his last published for the band  Barrett and Pink Floyd's management wanted the song to be released as a single, but were vetoed by the rest of the band and producer Norman Smith  "Jugband Blues" is directed towards anyone within Barrett's proximity 

Background and recording
"Jugband Blues" was written around the same time as "Vegetable Man"  Both songs contain the same cynical humour, but while on "Vegetable Man" Barrett focuses his humour on himself, on "Jugband Blues" it is directed towards those around him "Jugband Blues" was either wholly or partly  recorded on 19 October 1967 at De Lane Lea Studios  The interview with producer Norman Smith, recorded for the DVD documentary Meddle: A Classic Album Under Review (2007), suggests that at least two separate recording 
sessions took place  The first session was evidently to record the basic Pink Floyd band track, which was possibly cut at EMI's Abbey Road Studios, since Smith clearly states in the interview that he was unable to use Abbey Road for the brass band session, and was obliged to book De Lane Lea Studios in Holborn instead  Smith's description of the De Lane Lea session implies that it was specifically booked to overdub the brass band onto an existing band track, and he makes no mention of the other members of the group, suggesting that only Barrett and the members of the brass band were present for this overdub session 
According to Smith, it had been his initial idea to add a brass arrangement to the basic track, which led Barrett to suggest using a Salvation Army band  Smith recalled that after some considerable effort he was able to contract the eight-piece Salvation Army International Staff Band for the session, which was booked from 7pm to 10pm, but Barrett was almost an hour late arriving  Smith then invited Barrett to outline his musical ideas for the ensemble, but Syd told them he wanted them to simply "play whatever they want" regardless of the rest of the group  Dismayed, Smith had to insist on scored parts, and he was obliged to sketch out an arrangement himself -- according to his account, Barrett walked out of the studio shortly afterwards and did not return  In the interview Smith also specifically mentions playing an existing version of the track for the brass players, to give them some idea of what they were expected to play  About The Salvation Army, band manager Andrew King said that Barrett "wanted a massive Salvation Army freak-out, but that's the only time I can remember Norman [Smith] putting his foot down " The song features a distinctive three-tiered structure: starting off in 34 meter, then into 24 and finishing off in 44 

Video
The promotional video for the song was filmed in December 1967, for the Central Office of Information in London  The video was supposed to be about Britain, and was meant to be distributed in the US and Canada  The video features Barrett (shown with an acoustic guitar for the first time) and the group miming to the song in a more conventional stage setting, with psychedelic projections in the background  The original audio to the promo is lost, and most versions use the BBC recording from late 1967, consequently causing sync issues most evident as Barrett sings the opening verse  The original film was considered to be lost, until it was re-discovered in the Manchester Arts Lab in 1999  Barrett and Waters first watched the promo video during the second week of December 1967 

Reception
In a contemporary negative review for A Saucerful of Secrets, Jim Miller of Rolling Stone asserts that ‘Jugband Blues’ "hardly does any credit to Barrett's credentials as a composer "

Legacy
Barrett, along with Pink Floyd's managers, Peter Jenner and King, wanted to release the song as a single in the new year, before being vetoed by both the band and Norman Smith  Jenner said that "Jugband Blues", along with two others that Syd wrote around this time, ("Scream Thy Last Scream" and "Vegetable Man") were "amazing songs " When compared to "Bike" and "The Scarecrow", Jenner said "You think, 'Well, OK, those are all right, but these are powerful disturbing art ' I wouldn't want anyone to have to go as mad and disturbed as Syd did to get that, but if you are going to go that disturbed give me something like that  That's great art " Jenner had also called "Jugband Blues" "an extraordinary song, the ultimate self-diagnosis on a state of schizophrenia, [and] the portrait of a nervous breakdown "Barrett, by the beginning of the recording sessions for A Saucerful of Secrets, was already shrinking into a delirious state of mind, exacerbated by his feelings of alienation from the rest of the band  The common interpretation of the lyrics is that they reflect his schizophrenia and it has been argued that they could also be read as a criticism of the other band members for forcing him out  King said of the song: "The most alienated, extraordinary lyrics  It's not addressed to the band, it's addressed to the whole world  He was completely cut off " Jenner said "I think every psychiatrist should be made to listen to those songs ["Jugband Blues", "Scream Thy Last Scream" and "Vegetable Man"]  I think they should be part of the curriculum of every medical college along with those Van Gogh paintings like The Crows ""Jugband Blues" is one of two songs (the other being "Set the Controls for the Heart of the Sun") from A Saucerful of Secrets that were later included on the compilation album Echoes: The Best of Pink Floyd  The song was preceded on the compilation by "Wish You Were Here", with lyrics by Roger Waters written in tribute to Barrett  The band 
Opal released a cover of the song on the Barrett tribute album Beyond the Wildwood in 1987 

Personnel
Syd Barrett – acoustic guitar, electric guitar, lead vocals
Richard Wright – Farfisa organ, tin whistle
Roger Waters – bass guitar
Nick Mason – drums, castanets, kazoowith:

The Salvation Army International Staff BandRay Bowes (cornet), Terry Camsey (cornet), Mac Carter (trombone), Les Condon (E♭ bass), Maurice Cooper (euphonium), Ian Hankey (trombone), George Whittingham (B♭ bass), plus one other uncredited musician 
Passage 6:
High Coal, West Virginia
High Coal or Highcoal is an unincorporated community and coal town located in Boone County, West Virginia, United States 
Passage 7:
The Lump
The Lump is a short animated film released in 1991  It tells the story of an unattractive and unpopular man named George  One day, a lump appears on his head that looks like an attractive face  By pretending the lump is his real face, he gains fame and fortune, but soon he gets into trouble when he enters into the company of several corrupt politicians 
A National Film Board of Canada film, The Lump was written and directed by John Weldon  Harvey Atkin contributed the voice  It was nominated for the Genie Award for Best Animated Short at the 13th Genie Awards in 1992, and won the Gordon Bruce Award for Humor at the Ottawa International Animation Festival in that year 
Passage 8:
Joel the Lump of Coal
"Joel the Lump of Coal" is a song by Las Vegas-based rock band The Killers featuring late night talk show host Jimmy Kimmel  It was released on December 1, 2014  The song marks the ninth consecutive year in which the band has released a Christmas song  As with their previous Christmas releases, all proceeds from this song go to AIDS charities as part of the Product Red campaign   The song's announcement and debut occurred on Jimmy Kimmel Live!, where the music video and a montage about the recording process aired 

Music video
The animated music video first aired on Jimmy Kimmel Live! (December 1, 2014)   The style of the video is similar to that of the stop motion animated Rudolph the Red-Nosed Reindeer (1964) and other Rankin/Bass Productions holiday-themed films in digital collage form   The song tells the story of Joel, a lump of coal living at the North Pole  Joel is excited when Santa chooses him to be a child's present, but he is disappointed to learn that instead of being a special gift, Santa is taking him to a naughty boy for Christmas  Joel reluctantly accepts his fate, but he soon realizes that he is just the present the naughty boy needs to help him change his ways  At the end, selfless Joel turns himself into a diamond to make the naughty boy happy The song is written by Jimmy Kimmel, Jonathan Bines, and the Killers (Flowers, Keuning, Vannucci and Stoermer) with additional material by Tony Barbieri  The video is directed by Jonathan Kimmel, produced by Jennifer Sharron, and edited by Jason Bielski  The animation is by Sean Michael Solomon, Julian Petschek, Jonathan Kimmel, Jesse Griffith and Patrick Campbell, with Bernd Reinhardt as Director of Photography and Jim Alario as cameraman  The sound mix was recorded at Henson Studios, with field sound recorded by Brian Angely and Todd JeanPierre 

Track listing
Digital Download"Joel the Lump of Coal" – 3:58

Charts
Passage 9:
Ministry of Coal
The Ministry of Coal is an Indian government ministry headquartered in New Delhi  The portfolio is held by Cabinet Minister Pralhad Joshi 
The Ministry of Coal is charged with exploration of coal and lignite reserves in India, production, supply, distribution and price of coal through the government-owned corporations Coal India Limited and its subsidiaries, as well as Neyveli Lignite Corporation The Ministry of Coal also manages the Union Government's 49 percent equity participation in Singareni Collieries Company, a public sector undertaking that is a joint venture with Government of Telangana  in which equity is held partly by the State Government of Telangana (51%) and the Government of India 

Ministers of Coal
List of Ministers of State
Organisations
Central Public Sector Undertakings
Coal India
Neyveli Lignite Corporation

Statutory Bodies
Coal Mines Provident Fund Organisation (CMPFO)
Coal Mines Welfare Organisation
Commissioner Of Payments
COAL CONTROLLER'S ORGANIZATION (CCO)

Functions And Responsibilities
The Ministry of Coal is responsible for development and exploitation of coal and lignite reserves in India  The subjects allocated to the Ministry which include attached and sub-ordinate or other organisations including PSUs concerned with their subjects under the Government of India (Allocation of Business) Rules, 1961, as amended from time to time, are as follows:

Exploration and development of coking coal and non-coking coal and lignite deposits in India
All matters relating to production, supply, distribution and prices of coal
Development and operation of coal washeries other than those for which Department of Steel (ISPAT Vibhag) is responsible
Low-Temperature carbonisation of coal and production of synthetic oil from coal
Administration of the Coal Mines (Conservation and Development) Act, 1974 (28 of 1974)
The Coal Mines Provident Fund Organisation
The Coal Mines Welfare Organisation
Administration of the Coal Mines Provident Fund and Miscellaneous Provision Act, 1948 (46 of 1948)
Administration of the Coal Mines Labour Welfare Fund Act, 1947 (32 of 1947)
Rules under the Mines Act, 1952 (32 of 1952) for the levy and collection of duty of excise on coke and coal produced and dispatched from mines and administration of rescue fund
Administration of the Coal Bearing Areas (Acquisition and Development) Act, 1957 (20 of 1957)
Passage 10:
Singles: Individually Wrapped
Singles: Individually Wrapped is a greatest hits album by Odds, released in 2000  The album contains singles from all four of the band's studio albums, as well as a rendition of the Christmas song "Kings of Orient" which the band recorded for the 1991 Christmas compilation A Lump of Coal 

Track listing
"Someone Who's Cool" (3:17)
"Truth Untold" (3:55)
"It Falls Apart" (3:38)
"Love Is the Subject" (4:43)
"Jackhammer" (long version) (4:20)
"Satisfied" (3:00)
"Nothing Beautiful" (3:06)
"Eat My Brain" (4:26)
"Make You Mad" (4:07)
"Wendy Under the Stars" (4:15)
"Yes (Means It's Hard to Say No)" (single remix) (3:14)
"I Would Be Your Man" (3:26)
"King of the Heap" (single remix) (3:57)
"Heterosexual Man" (3:32)
"Mercy to Go" (5:18)
"Kings of Orient (We Three Kings)" (4:26)
Context 2: Passage 1:
Domitila de Castro, Marchioness of Santos
Domitila (or Domitília) de Castro do Canto e Melo (27 December 1797 — 3 November 1867), 1st Viscountess with designation as a Grandee, then 1st Marchioness of Santos, was a Brazilian noblewoman and the long-term mistress and favorite of Emperor Pedro I 

Life
Birth and family
Daughter of João de Castro do Canto e Melo, 1st Viscount of Castro and Escolástica Bonifácia de Oliveira e Toledo Ribas, Domitila belonged to a traditional São Paulo noble family: she was the granddaughter of Colonel Carlos José Ribas, great-grandfather of Simão de Toledo Piza, patriarch of this family in São Paulo  Born on 27 December 1797, she was baptized three months later, on 7 March 1798 in the Church of Nossa Senhora da Assunção (Sé) in São Paulo  According to her baptismal record, her godfather was Ensign José Duarte e Câmara 
The Brigadier João de Castro Canto e Melo was born in the Terceira Island in the Azores, and died in Rio de Janeiro in 1826  He was the son of João Batista do Canto e Melo and Isabel Ricketts, and descended from Pero Anes do Canto, from Terceira Island  He passed to Portugal, setting up a cadet square at the age of 15 on 1 January 1768, named Standard-Bearer on 17 October 1773  He was 21 when, in 1774, he went to Rio de Janeiro and months later to São Paulo  He was transferred to the Santos Infantry line Regiment, promoted to Ensign in 1775 and to Lieutenant in the same year, to Adjudant in 1778; he was Captain in 1798, Major in the same year, and in 1815 Lieutenant Colonel  Later, after his daughter's love with the emperor, he was made Gentleman of the Imperial Chamber and still received the noble title of Viscount of Castro on 12 October 1825 Domitila's full siblings were:
João de Castro do Canto e Melo (March 1786 – 11 September 1853), 2nd Viscount of Castro, Field Marshal and Gentleman of the Imperial Chamber; married with Inocência Laura Vieira de Azambuja, with whom he had issue 
José de Castro do Canto e Melo (baptized 17 October 1787 – died ca  1842), Brigadier of the Brazilian Army  Soldier at the age of five on 1 July 1792, Standard-Bearer in 1801, Ensign in 1807, Lieutenant in 1815, Commander of the Cavalry Squad of the Legion of São Paulo and in the Battle of Itupuraí, in the 1816 campaign  Captain in 1818, Sergeant Major of the 2nd Line Cavalry Regiment of Vila de Curitiba, then São Paulo Province, in 1824  Colonel of the Army Staff in 1827  He was licensed due to health reasons in 1829  Brigadier retired from the Army  Gentleman of the Imperial Chamber, dismissed in 1842  Knight of the Military Order of Saint Benedict of Aviz in 1824 and was promoted to Commander in the same order in 1827  Officer of the Order of the Southern Cross in 1827; married with his niece Francisca Pinto Coelho de Mendonça e Castro, with whom he had issue 
Maria de Castro do Canto e Melo (baptized February 1790; died in infancy) 
Pedro de Castro do Canto e Melo (baptized 26 May 1791; died in infancy) 
Maria Benedita de Castro do Canto e Melo (18 December 1792 – 5 March 1857), married to Boaventura Delfim Pereira, Baron of Sorocaba, with whom she had issue; her second son Rodrigo Delfim Pereira, although recognized by her husband, was in fact an illegitimate son of Emperor Pedro I, her sister's lover 
Ana Cândida de Castro do Canto e Melo (January 1795 – 27 May 1834), married to Carlos Maria de Oliva, Veador of the Imperial Chamber and Colonel of the Army, with whom she had issue 
Fortunata de Castro do Canto e Melo (baptized 12 January 1797; died in infancy) 
Francisco de Castro do Canto e Melo (5 April 1799 – 21 June 1869), Gentleman of the Imperial Chamber, Major retired of the Army; married firstly with Francisca Leite Penteado and secondly with Lina Pereira de Castro  He had issue from his second marriage 
Jeronimo de Castro do Canto e Melo (baptized 13 September 1803; died in infancy) In addition, Domitila had an older illegitimate half-sister, Maria Eufrásia de Castro, born from her father's earlier relationship (in fact, betrothal later terminated) with Teresa Braseiro 

First Marriage
On 13 January 1813, Domitila, at the age of fifteen, married an officer from the second squad of the Corps of Dragons in the city of Vila Rica (now Ouro Preto), Ensign Felício Pinto Coelho de Mendonça (26 February 1790 – 5 November 1833), cited by several historians as a violent man, who beat and raped her, and from whom she divorced on 21 May 1824 After the wedding in São Paulo, Felício and Domitila left for Vila Rica  Three children were born from the marriage:

Due to her husband's mistreatment, Domitila obtained permission from his family in São Paulo to return to her father's home with her children  He arrived back in São Paulo at the end of 1816  Felício managed to transfer his post in the army from Vila Rica to Santos and settled in São Paulo, trying to reconcile with his wife and in 1818 they returned to live together  However, given his drinking and gambling problems, it did not take long for Felício to return with his old behavior, and began the beatings and death threats to his wife  On the morning of 6 March 1819, Felício surprised Domitila next to the Santa Luiza fountain and stabbed her twice, one stab caught in the thigh and the other in the belly  Felício was arrested and taken to Santos, next to his barracks, from where he left for Rio de Janeiro  Domitila spent two months between life and death  When she recovered from her injuries, she had to fight legally against her father-in-law, who wanted to take the couple's children to educate them in the Captaincy of Minas Gerais  Domitila asked for Felício's legal separation but only obtained it five years later, when she was already the Emperor's mistress  Domitila's detractors would accuse her after being assaulted because she betrayed Felício, when in reality, through documentation and witnesses in the divorce process, he had tried to kill her to sell the land that both, with the death of his mother, had jointly inherited in Minas Gerais 

Imperial Mistress
Domitila met Dom Pedro de Alcântara, Prince-Regent of Brazil days before the Proclamation of the Independence on 29 August 1822  The Prince-Regent was returning from a visit to Santos when he received, on the banks of the Ipiranga Brook, in São Paulo, two missives (one from his wife, Princess Maria Leopoldina of Austria and another from José Bonifácio de Andrada e Silva) that informed him about the decisions of the Portuguese Courts, in which Dom Pedro stopped being Prince-Regent and received orders to return to the continent  Outraged by this "interference with his acts as ruler", and influenced by whose defended the break with the metropolis, especially by José Bonifácio de Andrada, he decided to separate the Kingdom of Portugal and the Algarves 

Domitila was not the only lover of Dom Pedro, but she was the most important and the one with whom he had the longest relationship  Before his marriage, the Prince-Regent had been involved with a French ballerina, named Noémi Thierry, with whom he had a son  During his relationship with Domitila he had other parallel ones, such as Adèle Bonpland (wife of French naturalist Aimé Bonpland) and the dressmaker Clemence Saisset (whose husband had a store on Rua do Ouvidor), with whom he had a son  In addition to these liaisons, Domitila's own sister, Maria Benedita de Castro do Canto e Melo, Baroness of Sorocaba, also had a son with Dom Pedro 
In 1823, the now Emperor Pedro I installed Domitila at the Barão de Ubá street (today the Estácio neighborhood) which was her first residence in Rio de Janeiro  One year later, and thanks to the support of her lover, Domitila was able to have her first marriage nullified  In 1826, she received as a gift the "Casa Amarela", as her mansion became known, at number 293 of the current Avenida D  Pedro II, near Quinta da Boa Vista, in São Cristóvão (where the Museum of the First Reign now operates)  The Emperor bought the house from Dr  Teodoro Ferreira de Aguiar and ordered a renovation in a neoclassical style to the architect Pierre Joseph Pézerat  The internal mural paintings are the work of Francisco Pedro do Amaral, while the internal and external bas-reliefs by Zéphyrin Ferrez Domitila was being elevated by her lover little by little  In 1824 she was created Baroness of Santos; on 4 April 1825 she was appointed Lady-in-waiting of Empress Maria Leopoldina, on 12 October of the same year was created Viscountess of Santos with designation as a Grandee and, on 12 October 1826 she was finally created Marchioness of Santos  Besides all this titles, on 4 April 1827 the Emperor invested his mistress with the Order of Saint Isabel, who was solely granted "to women of irreproachable conduct"  Although Domitila was not born in that city, the Emperor, in an attempt to attack de Andrada brothers, born in Santos, would have given the titles to his mistress  José Bonifácio de Andrada, upon learning of this fact in his exile in France, wrote to his friend Counselor Drummond: "Who would dream that the michela (prostitute) Domitila would be Viscountess of the homeland of the Andradas! What a brazen insult!"  Domitila's family also received several imperial benefits: Her father became Viscount of Castro, her brother Francisco became the Emperor's Field Assistant and the rest of her siblings received Hidalgo precedence  Domitila's brother-in-law, Boaventura Delfim Pereira (husband of Maria Benedita), was made Baron of Sorocaba 
From her relationship with Emperor Pedro I, Domitila had five children:

Empress Maria Leopoldina died in 1826 due to complications caused by a miscarriage, amidst rumours who blame Domitila of the illness and death of the beloved Empress  The Marchioness of Santos' popularity, which was no longer the best, worsened, with her house in São Cristóvão being stoned and her brother-in-law, a butler of the Empress, received two shots  Her right to preside over medical appointments of the Empress, as her lady-in-waiting, was denied, and ministers and officials of the palace suggested that she should not continue to attend court 

  
Emperor Pedro I ended his relationship with Domitila in 1829 due to his second marriage with Amélie of Leuchtenberg  Already since 1827 he had been looking for a noble blood bride but the sufferings caused to his late wife by him and the scandalous link with the Marchioness of Santos were seen with horror by European courts and several princesses refused to marry the Emperor 
The Austrian ambassador to Rio de Janeiro, Baron Wenzel Philipp von Mareschal, wrote to Vienna about the future marriage of the Emperor and the banishment of the mistress: "Emperor D  Pedro was eventually convinced that the presence of the Lady of Santos would always be inopportune and that a simple change of residence would not satisfy anyone; he insisted on the sale of her properties, the which I heard was already provided and on her departure to São Paulo in eight or ten days" 
The Emperor bought the properties of the Marchioness of Santos in Rio de Janeiro for 240 contos (240 insurance policy of the Public Debt from the Amortization Box, of 1 contos de réis), returning to Domitila "in banknotes of São Paulo" of the amount of 14 contos de réis, two contos for the Amortization Box with which she had presented it, an allowance of 1 conto de réis per month put at your order, "at par or in banknotes"  Regarding the residence bought from the former mistress, Mareschal says: "It will serve the young Queen and her court"  It was Dona Maria da Glória, future Queen Maria II of Portugal; that is why it would later be known as the Queen's Palace, as effectively Dona Maria da Glória settled there, albeit for a short period  Later was bought by the Viscount of Mauá and around 1900 the residence was acquired by the doctor Abel Parente, the protagonist of one of the biggest scandals in Rio de Janeiro, in 1910  It became the Museum of the First Reign in the late 1980s until 2011 when it was deactivated and the restoration and adaptation of the space began to receive the Fashion Museum - Casa da Marquesa de Santos 

Second Marriage
Since 1833 Domitila began to cohabitated with the Brigadier Rafael Tobias de Aguiar (4 October 1794 – 7 October1857), with whom she officially married in the city of Sorocaba on 14 June 1842  Rafael Tobias de Aguiar was not only a politician but a wealthy Sorocaban farmer: the base of his fortune was the trade in mules, but in time he ended up diversifying his business with sugar farms, cattle and horse breeding  The Tobian coat was created by him  Nicknamed the "Reizinho de São Paulo" (Little King of São Paulo) thanks to his fortune, he held the position of President of the Province of São Paulo for two terms and was elected Provincial Deputy for São Paulo  He ran twice for the position of Senator of the Empire, but his name was never chosen by Emperor Pedro II of Brazil  In 1842, as one of the main leaders of the Liberal Revolution, after his marriage to the Marchioness of Santos and the eminent invasion of Sorocaba by the troops of Luís Alves de Lima e Silva, fled to the south where he was captured  Taken to Rio de Janeiro, he was incarcerated in the Fortress of Laje, located on a rock in the middle of Guanabara Bay  Domitila, on hearing of his arrest, arrived to the Imperial court where, by means of a representant, she pleaded to the Emperor that she could live with her husband in the Fortress of Laje to take care of his health, which was granted 
In 1844, Rafael Tobias de Aguiar was given an amnesty and the couple returned to São Paulo, where they were received with a great party  Rafael Tobias de Aguiar died on board the Vapor Piratininga on 7 October 1857 when on his way to Rio de Janeiro in search of medical help  He was accompanied by his wife and one of the couple's children  Domitila's relationship with Rafael Tobias de Aguiar was the longest one of hers, lasting 24 years, during which the couple had six children, of which 4 managed to reach adulthood:

The Solar da Marquesa de Santos
On her return to São Paulo after the end of her relationship with Emperor Pedro I of Brazil, Domitila acquired in 1834 a vast mansion on the old Rua do Carmo, currently Rua Roberto Simonsen in the city center  The first owner of the property was Brigadier José Pinto de Morais Leme according to documentation from 1802  Previously, on the site, there were two houses that were renovated and gave rise to a single building  Domitila was the owner of these house from 1834 until her death in 1867 
The property became the center of São Paulo society, animated by masquerade balls and literary evening parties given by the Marchioness of Santos  In 1880, the house was put up for auction and was acquired by the local Diocese, who transformed the Manor into the Episcopal Palace  The House today belongs to the City Hall of São Paulo, which has the Museum of the City installed there  Its historical importance is great not only because his link to Domitila but because the property is the only urban remnant built using the technique known as rammed earth still existing in the historic center of the city 

Later years and death
After being widowed, the Marchioness of Santos became devout and charitable, seeking to help the helpless, protecting the miserable and hungry, caring for the sick and students of the Faculdade de Direito do Largo de São Francisco, in the center of the city of São Paulo 
Domitila de Castro do Canto e Melo, Marchioness of Santos died of enterocolitis in her residence in the Rua do Carmo, now Roberto Simonsen, near the Pátio do Colégio, on 3 November 1867 aged 69  She was buried in the Cemitério da Consolação, whose original chapel was built with a donation made by Domitila by the amount of 2 contos de réis Despite information circulating that the cemetery's land was donated by the Marchioness of Santos, this version is incorrect  In fact, the cemetery was built, partly on land in the public domain and partly on land acquired from Marciano Pires de Oliveira for 200, 000 réis, which donated another part  After the inauguration, the area was enlarged with land expropriated by councilor Ramalho and Joaquim Floriano Wanderley 
Her grave in the Cemitério da Consolação, as well the two other plots she bought adjoining her gravesite —where her younger brother Francisco de Castro do Canto e Melo, her son Felício Pinto Coelho de Mendonça e Castro, and, after a recent discovery, her daughter the Countess of Iguaçu, were also buried—, were all recovered in the 1980s by the Italian accordionist Mario Zan, one of Domitila's most famous and fervent admirers; he took care of the deposit for the maintenance of the gravesites for years and when he died in 2006 he was buried in a tomb in front of the Marchioness  Even after his death, Mario Zan continues, in a way, to pay for the maintenance of Domitila's gravesite, because according to his will, the copyrights of his music were destined to this purpose 
Domitila's grave always receives fresh flowers from people who continue to consider her a popular saint  Among the legends is that she protects the prostitutes of the city and, due to having achieved a good marriage and restructuring worthily after her scandalous relationship with Emperor Pedro I of Brazil, she became an inspiration for girls who wanted to marry well  In her grave headstone there are plaques from devotees thanking her for some grace 

Ancestry
Representations in culture
Movies
In the silent film O Grito do Ipiranga (1917), Domitila was portrayed by Luíza Lambertini 
In the Argentine film Embrujo (1941), with direction and argumentation by Enrique Susini 
In the film Independência ou Morte (1972), Domitila was portrayed by Glória Menezes 

Theater
In Viriato Correia's play A Marquesa de Santos (1938), the Marchioness of Santos was portrayed by Dulcina de Moraes 
At the revue No Paço da Marquesa (1950), with the Vedette Virgínia Lane in the role of Domitila 
In the play O Imperador Galante (1954), written by Raimundo Magalhães Júnior, with Domitila being again portrayed by Dulcina de Moraes 
In the play Um grito de liberdade (1972), by Sérgio Viotti, with actress Nize Silva in the role of Domitila 
In the play Pedro e Domitila (1984), written by Ênio Gonçalves, Domitila was portrayed by Taya Perez 
In the monologue Marquesa de Santos: verso & reverso (2019), written by Paulo Rezzutti, Domitila was portrayed by Beth Araújo 

Radio
Dramatization of A Marquesa de Santos, by writer Paulo Setúbal by Rádio Nacional Rio de Janeiro, in 1946 
D  Pedro e a Marquesa de Santos, written by broadcaster Cassiano Gabus Mendes, was aired by Rádio Record, São Paulo, on 7 September 1950 

Television
In the televised play A Marquesa de Santos, aired on 12 February 12, 1962 on the program Teatro Nove, on TV Excelsior, Channel 9, São Paulo, the role of the Marchioness was portrayed by Cleyde Yáconis 
In the soap opera Helena (1987), the Marchioness was portrayed by Norma Suely 
In the mini-series Marquesa de Santos (1984) on Rede Manchete, the Marchioness was portrayed by Maitê Proença 
In the miniseries Entre o Amor e a Espada (2001), by TVE Brasil, the Marchioness was portrayed by Rejane Santos 
In the Rede Globo miniseries O Quinto dos Infernos (2002), the role of the Marchioness was portrayed by Luana Piovani 
In Rede Globo's soap opera Novo Mundo (2017), the role of the Marchioness was portrayed by Agatha Moreira 

Opera
Marquesa de Santos (1948), composed by João Batista de Siqueira  Opera piece in three acts with libretto by Joaquim Ribeiro 
Chalaça (1973), by conductor Francisco Mignone 
Domitila (2000), with music and libretto by Rio de Janeiro composer João Guilherme Ripper, inspired by the love letters exchanged between Dom Pedro I and Domitila  The soprano Maíra Lauter portrayed Domitila 

Rock
The album "Caso Real" (2015) by the rock band Lítera that was inspired by the love affair between the Emperor Pedro I of Brazil and the Marquesa de Santos, through the book "Titília e o Demonão – Cartas Inéditas de Dom Pedro I à Marquesa de Santos", by the writer Paulo Rezzutti 

Sambas plots
Os amores célebres do Brasil (1966), from Acadêmicos do Salgueiro 
A Favorita do Imperador (1964), from Imperatriz Leopoldinense 
A flecha do cupido me pegou (1981), from Caprichosos de Pilares 
Mulheres que Brilham – a força feminina no progresso social e cultural do país (2012), from Vai-Vai 
Paixões proibidas e outros amores (2014), from Nenê de Vila Matilde 

Notes
Passage 2:
Maria Isabel de Alcântara, Countess of Iguaçu
Maria Isabel de Alcântara Bourbon (28 February 1830 – 5 September 1896) was the third daughter (fifth child) of emperor Pedro I of Brazil and his mistress, Domitila de Castro, Marchioness of Santos 
Maria Isabel received the same name as her second sister, the Duchess of Ceará, who died in 1828 at only two months old  She was never given any titles by her father due to his marriage to Amélie of Leuchtenberg  Still, Pedro I acknowledged her as his daughter in his will but gave her no share of his state, except asking for his widow to aid in her education and upbringing  He had wished that she be given a good European education like her oldest sister, the Duchess of Goiás  However, the Marchioness declined to send the girl to Europe On 2 September 1848, at the age of eighteen, Maria Isabel married Pedro Caldeira Brant, the Count of Iguaçu, son of Felisberto Caldeira Brant, Marquis of Barbacena  At their wedding, Maria Isabel became the second Countess of Iguaçu
Context 3: Passage 1:
Henri Verdun
Henri Verdun (1895–1977) was a French composer of film scores 

Selected filmography
Napoléon (1927)
The Sweetness of Loving (1930)
The Levy Department Stores (1932)
The Lacquered Box (1932)
The Weaker Sex (1933)
The Flame (1936)
Girls of Paris (1936)
The Assault (1936)
Les Disparus de Saint-Agil (1938)
The Woman Thief (1938)
Ernest the Rebel (1938)
Rail Pirates (1938)
The Fatted Calf (1939)
Camp Thirteen (1940)
The Man Without a Name (1943)
The Bellman (1945)
My First Love (1945)
The Murderer is Not Guilty (1946)
Distress (1946)
The Fugitive (1947)
The Ironmaster (1948)
The Tragic Dolmen (1948)
The Ladies in the Green Hats (1949)
La Fugue de Monsieur Perle (1952)
The Lovers of Midnight (1953)
The Big Flag (1954)
Blood to the Head (1956)
Passage 2:
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 3:
Walter Ulfig
Walter Ulfig was a German composer of film scores 

Selected filmography
Das Meer (1927)
Venus im Frack (1927)
Svengali (1927)
Bigamie (1927)
Homesick (1927)
The Awakening of Woman (1927)
The Famous Woman (1927)
Alpine Tragedy (1927)
The Strange Case of Captain Ramper (1927)
Assassination (1927)
Queen Louise (1927)
Homesick (1927)
Das Schicksal einer Nacht (1927)
The Hunt for the Bride (1927)
The Orlov (1927)
Serenissimus and the Last Virgin (1928)
Mariett Dances Today (1928))
The Woman from Till 12 (1928)
The Beloved of His Highness (1928)
The Schorrsiegel Affair (1928)
It Attracted Three Fellows (1928)
Miss Chauffeur (1928)
The King of Carnival (1928)
The Weekend Bride (1928)
Honeymoon (1928)
Spring Awakening (1929)
The Right of the Unborn (1929)
The Heath Is Green (1932)
Höllentempo (1933)
The Two Seals (1934)
Pappi (1934)
Mädchenräuber (1936)

Bibliography
Jung, Uli & Schatzberg, Walter  Beyond Caligari: The Films of Robert Wiene  Berghahn Books, 1999 

External links
Walter Ulfig at IMDb
Passage 4:
Bert Grund
Bert Grund (1920–1992) was a German composer of film scores 

Selected filmography
Crown Jewels (1950)
Immortal Light (1951)
I Can't Marry Them All (1952)
We're Dancing on the Rainbow (1952)
My Wife Is Being Stupid (1952)
Knall and Fall as Detectives (1952)
The Bachelor Trap (1953)
The Bird Seller (1953)
The Immortal Vagabond (1953)
The Sun of St  Moritz (1954)
The Witch (1954)
The Major and the Bulls (1955)
Operation Sleeping Bag (1955)
Love's Carnival (1955)
The Marriage of Doctor Danwitz (1956)
Between Time and Eternity (1956)
That Won't Keep a Sailor Down (1958)
Arena of Fear (1959)
The Thousand Eyes of Dr  Mabuse (1960)
The Count of Luxemburg (1972)
Mathias Sandorf (1979, TV series)
Die Wächter (1986, TV miniseries)
Carmen on Ice (1990)
Passage 5:
Miracle of Marcelino
Miracle of Marcelino (Spanish: Marcelino, pan y vino, "Marcelino, bread and wine") is a 1955 Spanish film written by José Maria Sanchez-Silva, based on his novel, and directed by Ladislao Vajda  It starred, Juan Calvo (who also starred together as Don Quixote and Sancho Panza in the 1947 Spanish film version of Miguel de Cervantes' Don Quixote) and the young child star Pablito Calvo (no relation to Juan) as Marcelino  The musical score and theme song – sung in full during the action, rather than at the start of the film – are by Pablo Sorozábal 
The story, revised and modernised in both the book and film, dates back to a medieval legend, one of many gathered together in a volume by Alfonso el Sabio  It was a critical and commercial success, and other countries have produced versions of it 

Plot
The story revolves around Marcelino, an orphan abandoned as a baby on the steps of a monastery in nineteenth-century Spain  The monks raise the child, and Marcelino grows into a rowdy young boy  He has been warned by the monks not to visit the monastery attic, where a "very big man who will take him away" lives, but he ventures upstairs anyway, sees the man and tears off back down the stairs 
At a festival, Marcelino causes havoc when he accidentally topples a pile of fruit and lets some animals loose   The new local mayor, a blacksmith whom the monks would not let adopt Marcelino because of his coarse behaviour, uses the incident as an excuse to try to shut down the monastery 
Given the silent treatment by the monks, Marcelino gathers up the courage to once again enter the attic, where he sees not a bogeyman, but a beautiful statue of Christ on the Cross  Remarking that the statue looks hungry, Marcelino steals some bread and wine and offers it to the statue, which comes to life, descends from the Cross, and eats and drinks what the boy has brought him  The statue becomes Marcelino's best friend and confidant and begins to give him religious instruction  For his part, Marcelino realizes that the statue is Christ 
The monks know something is strange when they notice bread and wine disappearing, and arrange to spy on Marcelino  One day, the statue notices that Marcelino is pensive and brooding instead of happy, and tells him that he would like to reward his kindness  Marcelino answers: "I want only to see my mother, and to see Yours after that"  The statue cradles Marcelino in its arms, tells Marcelino to sleep - and Marcelino dies happy 
The monks witness the miracle through a crack in the attic door and burst in just in time to see the dead Marcelino bathed in a heavenly glow  The statue returns to its place on the Cross, and Marcelino is buried underneath the chapel and venerated by all who visit the now flourishing monastery-turned-shrine 
The main story is told in flashback by a monk (played by Fernando Rey), who, visiting a dying girl, tells her the story of Marcelino for inspiration  The film ends with the monk entering the now completely remodelled chapel in the monastery during Mass, and saying to the crucifix once kept in the attic: "We have been speaking about You, O Lord", and then, to Marcelino's grave, which is situated nearby, "And about you, too, Marcelino "

Cast
Legacy
The film remains one of the most famous and successful Spanish films ever made in history, and one of the first Spanish films to become successful in the U S  as well 
Three key scenes of the film were filmed in La Alberca (Salamanca)  Its Plaza Mayor serves as a stage for the initial scene, in which the narrator friar, Fernando Rey, goes down to the village to tell the sick child the story of Marcellino  The scene of the market, where Marcelino has just climbed into a cockpit after causing the stampede of a yoke of oxen



ground_truth: Jugband Blues

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

Question: What is the date of death of Maria Isabel De Alcântara, Countess Of Iguaçu's mother?

The following are given passages.
Context 2:  The couple had seven children: 

Isabel dos Santos
Luís de Alcantâra Caldeira Brant, married Maria Luísa Pereira de Brito
Pedro de Alcântara Caldeira Brant
Deulinda dos Santos, married Claudiano dos Santos
Maria Teresa Caldeira Brant, married Charles Collins
Isabel Maria dos Santos, married Antônio Dias Paes Leme
José Severiano de AlcântaraShe died on 5 September 1896, at sixty-six years of age, in São Paulo 
Passage 3:
Maria Isabel Barreno
Maria Isabel Barreno de Faria Martins GOIH (10 July 1939 – 3 September 2016) was a Portuguese writer, essayist, journalist and sculptor  She was one of the authors of the book Novas Cartas Portugesas (New Portuguese Letters), together with Maria Teresa Horta and Maria Velho da Costa  The authors, known as the "Three Marias," were arrested, jailed and prosecuted under Portuguese censorship laws in 1972, during the last years of the Estado Novo dictatorship  The book and their trial inspired protests in Portugal and attracted international attention from European and American women's liberation groups in the years leading up to the Carnation Revolution 

Biography
Born in Lisbon in the freguesia of Socorro, her parents moved to Areeiro, where she spent her childhood and adolescence  She studied College of Letters at the Universidade de Lisboa, where she graduated in Historico-Philosophical Sciences 
After graduation, she took a job working for the Instituto de Investigação Industrial  She dedicated herself to the cause of feminism, taking part in the Portuguese feminist movement together with the writers Maria Teresa Horta and Maria Velho da Costa, the "Three Marias" (Três Marias) 
On 8 March  2004, she was made a Grand Official in the Ordem do Infante D  Henrique Barreno died on 3 September 2016 at the age of 77 
The sketch shown here is not a portrait of Barreno but of Maria Fatima Velho da Costa  A 1975 photo of the Three Marias published in The Economist shows Isabel Barreno on the right  
A late-life photo of her appears with her obituary on a Portuguese government site, cig gov pt 

Works
Adaptação do Trabalhador de Origem Rural ao Meio Industrial Urbano (1966)
A Condição da Mulher Portuguesa (1968) (collaboration)
De Noite as Árvores São Negras (1968)
Os Outros Legítimos Superiores (1970)
Novas Cartas Portuguesas (1971) (co-authored with Maria Teresa Horta and Maria Velho da Costa)
A Morte da Mãe (1972)
A Imagem da Mulher na Imprensa (1976)
Inventário de Ana (1982)
Contos Analógicos (1983)
Sinos do Universo (1984)
Contos (1985)
Célia e Celina (1985)
O Outro Desbotado (1986)
O Falso Neutro (1989)
O Direito ao Presente (1990)
Crónica do Tempo (1991) – winner of the Fernando Namora Prize
O enviado (1991)
O Chão Salgado (1992)
Os Sensos Incomuns (1993) – winner of the Prémio P E N  Clube Português de Ficção, and the Grande Prémio de Conto Camilo Castelo Branco
O Senhor das Ilhas (1994)
As Vésperas Esquecidas (1999)
Passage 4:
Maria Isabel of Braganza
Maria Isabel of Braganza (Maria Isabel Francisca de Assis Antónia Carlota Joana Josefa Xavier de Paula Micaela Rafaela Isabel Gonzaga; 19 May 1797 – 26 December 1818) was a Portuguese infanta who became Queen of Spain as the second wife of King Ferdinand VII 

Early years
Maria Isabel, born Maria Isabel Francisca de Assis Antónia Carlota Joana Josefa Xavier de Paula Micaela Rafaela Isabel Gonzaga, was born to John VI of Portugal and Carlota Joaquina of Spain on 19 May 1797  She was born as their third child and second daughter  The marriage between her father and mother was unhappy, Carlota Joaquina attempting to have King John VI deemed insane In 1807 Napoleon invaded Portugal, and the royal family unwillingly fled to Brazil  Maria Isabel’s mother Carlota sent her eldest surviving son, Pedro, to join his father and grandmother onboard the ship Principe Real whilst Carlota and the rest of her children would board the Affonso d’Albuquerque Upon their arrival, Carlota and her children were forced to shave their heads and wear white muslin hats 

Upbringing
Maria Isabel and her siblings were carefully educated by her mother liberally  Maria Isabel was noted to be kind, balanced and shy, and was much like her father within her personality 

Marriage
On 20 March 1816, Queen Maria I of Portugal perished  Due to this, Maria Isabel’s father John became the King of Portugal and Brazil  On 22 February 1816 marriage contracts between Ferdinand VII of Spain and Maria Isabel were officially signed; they would soon marry 29 September 1816  Ferdinand was 32 years old and Maria Isabel was 19 
Towards the end 1816 Maria Isabel and Ferdinand were married, and then settled in Madrid  There, Maria Isabel was then quickly pregnant  Maria Isabel gave birth to a daughter, who they named María Luisa Isabel, on 21 August 1817  María Luisa Isabel died four-five months later 

Death
Maria Isabel was pregnant soon after the birth of María Luisa Isabel, but the birth was indeed a difficult one: the baby was in breech and the physicians soon found that the child had died  Maria Isabel stopped breathing soon thereafter and the doctors thought she was dead  
Maria Isabel’s sister protested against the doctors' thoughts on presuming her dead  The king, however, ordered a fatal caesarean  When they started cutting her stomach to extract the dead fetus, she suddenly shouted in pain and collapsed on her bed, bleeding heavily  She died soon afterwards on 26 December 1818 in the Palace of Aranjuez, and was buried at the Escorial — the royal site of San Lorenzo de El Escorial 

Legacy
Queen Maria Isabel's dedication and affection for art led her to gather many treasures from the past and create a royal museum, which would end up being the beginnings of Museo del Prado  It opened on 19 November 1819, a year after the queen's death 

Issue
Ancestors
Honours and arms
Dame of the Order of Queen Maria Luisa
Dame of the Order of Saint Isabel

See also
Napoleonic Wars
Passage 5:
Etan Boritzer
Etan Boritzer (born 1950) is an American writer of children’s literature who is best known for his book What is God? first published in 1989  His best selling What is? illustrated children's book series on character education and difficult subjects for children is a popular teaching guide for parents, teachers and child-life professionals Boritzer gained national critical acclaim after What is God? was published in 1989 although the book has caused controversy from religious fundamentalists for its universalist views  The other current books in the What is? series include: What is Love?, What is Death?, What is Beautiful?, What is Funny?, What is Right?, What is Peace?, What is Money?, What is Dreaming?, What is a Friend?, What is True?, What is a Family?, and What is a Feeling? The series is now also translated into 15 languages 
Boritzer was first published in 1963 at the age of 13 when he wrote an essay in his English class at Wade Junior High School in the Bronx, New York on the assassination of John F  Kennedy  His essay was included in a special anthology by New York City public school children compiled and published by the New York City Department of Education 
Boritzer now lives in Venice, California and maintains his publishing office there also  He has helped numerous other authors to get published through How to Get Your Book Published! programs  Boritzer is also a yoga teacher who teaches regular classes locally and guest-teaches nationally  He is also recognized nationally as an erudite speaker on The Teachings of the Buddha 
Passage 6:
Anne Yelverton
Anne Yelverton (1628–1698) was Countess of Manchester and Countess of Halifax 

Biography
Anne Yelverton was born in 1628  She was the daughter of Sir Christopher Yelverton, 1st Baronet, and Anne Twysden  She married Robert Montagu, 3rd Earl of Manchester, son of Edward Montagu, 2nd Earl of Manchester, and Lady Anne Rich, on 27 June 1655  They had five sons and four daughters:
Hon  Edward Montagu
Hon  Henry Montagu
Lady Anne Montagu (c  1667–1720), married James Howard, 3rd Earl of Suffolk 
Charles Montagu, 1st Duke of Manchester (c  1656–1722)
Lady Elizabeth Montagu (c  1682)
Lady Catherine Montagu, married Samuel Edwin
Hon  Robert Montagu (d  1693)
Hon  Heneage Montagu (1675–1698)
Lady Eleanor Montague,   (1647-1695) Married to Anthony Haggard (1646-1755) Marriage about 1682 Berkshire, England, United Kingdom Her first husband, Robert Montagu, died in 1683  Her second marriage was to Charles Montagu, 1st Earl of Halifax, son of Hon  George Montagu (the half-brother of Robert Montagu's father, Edward) and Elizabeth Irby, circa 12 May 1688  This marriage was childless, and the Halifax title passed to Charles Montagu's nephew, George Montagu, by special remainder, on the former's death in 1715  Anne Yelverton died on 21 July 1698 
Passage 7:
Theodred II (Bishop of Elmham)
Theodred II was a medieval Bishop of Elmham 
The date of Theodred's consecration unknown, but the date of his death was sometime between 995 and 997 
Passage 8:
Maria Isabel Guerra
Maria Isabel Guerra (born 8 July 1955) is a Brazilian former butterfly and medley swimmer  She competed in three events at the 1972 Summer Olympics  She was a soccer player, rocked soccer skillzz 
Passage 9:
Maribel Martín
María Isabel Martín Martínez (1 November 1954 in Madrid, Spain), better known as Maribel Martín, is a Spanish actress 

Career
She made her acting debut at age seven in the film Tres de la Cruz Roja (1961),a film directed by Fernando Palacios  She had a career as a child actress in films like: La gran familia (1962), by Fernando Palacios and El Camino (1963) directed by Ana Mariscal 
At the end of the 1960s, she took more important roles in films like: The House That Screamed (1969) by Narciso Ibáñez Serrador and La Cera Virgen (1971) directed by Jose Maria Forque  She had her first starring role in The Blood Spattered Bride under the direction of Vicente Aranda  During the 1970s she concentrated her work in the theater and television  Among her films of this period are: Los Viajes Escolares (1973) directed by Jaime Chávarri; La Espada Negra (1976) film directed by Francisco Rovira Beleta Campana del Infierno (1973) by Claudio Guerin 
After her starring role in Últimas tardes con Teresa (1983) directed by  Gonzalo Herralde, she created the production company Ganesh Films with actor Julian Mateos and from then on she has taken roles in some of their production: The Holy Innocents (1984), by Mario Camus and Moon Child (1989), a film directed by Agusti Villaronga  Her most recent film is Engendro (2005) under the direction of Luis Cabeza 

Selected filmography
La gran familia (1962)
The House That Screamed (1969)
The Blood Spattered Bride (1972)
The Bell from Hell (1973)
The Great House (1975)
Forget the Drums (1975)
Fortunata y Jacinta  (1980)
Últimas tardes con Teresa (1983)
The Holy Innocents (1984)
Moon Child (1989)
Passage 10:
Isabel Bacardit
Maria Isabel Preñanosa Bacardit (born 1960 in Barcelona) is a Spanish painter 

Biography
Isabel Bacardit was born in Barcelona, Spain, in 1960  She starts her artistic education at the School of Arts of Poblenou, with Miquel Simó as her teacher, then moves on to the Escola d’Arts Aplicades i Oficis Artistics (Llotja) in Barcelona 
Starting as an abstract painter, she paints on materials she finds in the street: cardboard, wood, etc  Inspired by urban images, she paints using pigments mixed with sawdust and paper-paste to achieve densities and textures  Her compositions are based on primary colours 
In 1984 she is selected for the Fifth Biennale of Barcelona- Young Contemporary Painting  In 1985 she takes part in the First Exhibition of Young Art in Madrid and in the First Biennale of Young Cultural Productions of the European Mediterranean  In 1986 she is again selected for the Second Exhibition of Young Art in Madrid 
With the unexpected death of her partner, the painter Xavier Vidal i Banchs in 1984, Bacardit changes the theme of her work, taking inspiration now from the accidental changes of life  She creates a series of works based on The Disasters of War by Goya and paints proceeding from photographs of accidents taken from newspapers  She also changes her palette, turning to dark and earthen colours 
In 1986, due to the works in preparation for the 1992 Olympics, her paintings reflect the transformation of Barcelona, taking machines and diggers as her main motives 
In 1987 she illustrates the poem Helicón by Bruno Montané Krebs  She travels to Berlin, where she resides for a year  Here her themes are the signs of war, still visible on the buildings in the divided city  She exhibits in the gallery Vendemmia with the title "This is my Silence" 
In 1988 she moves to Mallorca, where she comes in contact with the theatre works of the Polish author Tadeusz Kantor  She creates the portfolio "The right to live in peace", with paintings inspired by the theatre of this author 
In 1989 she takes up residence in Santa Coloma de Farnés (Spain)  In the midst of nature she changes her themes dramatically  Her work finds inspiration in the landscape, light and silence  She leaves her work on the theme of death, with its dense materiality, behind, moving towards watercolours and transparencies 
In 1990 she lives in Rio de Janeiro, where she works with organisations for the welfare of street children, gives painting classes and establishes her studio in the gallery Maria Teresa Vieira  In Salvador de Bahia she exhibits a series of erotic drawings at the University of Fine Arts 
In 1991 she arrives in Chile  She exhibits in the gallery Buchi in Santiago de Chile and lives in Valparaiso  She collaborates with various artists: Edgard del Canto (painter), Alma Martinoia (painter), Ivo Vergara (painter), Cristina Correa (painter), Teresa Olivera (actress), Hernan Varela (stained glass artist) and Víctor Barrientos Ormazábal (actor and theatre director)  With them, she founds the theatre company "Theatre only for Fools" 
She begins her series "Earth, Air, Water and Fire"  On request of the cultural centre Las Condes of Santiago de Chile she builds a large scale sculpture out of papier-mache  and acrylics: "Bird Woman" which is dedicated to the flamenco dancer Carmen Amaya  For the theatre company "Theatre of Silence" she creates the life size puppets of the play "Taca taca mon amour" by Mauricio Celedón In 1994 she returns to Barcelona  She abandons abstract painting and returns to the figurative  In this period stand out:

The installation "Since ever, until when, since ever" for the "Meeting of Street Artists" in Granada 
An Exhibition in the civic centre Can Felipa with the collective "Art by Women", with works based on the theme of the female reproductive organs and birth 
The installation "Shoe-house Zapata"
Poeto-musical actions with Lucho Hermosilla, Steven Forster and Gaspar Lucas with the poem Altazor by Vicente Huidobro In 1996 she travels to Mexico  She meets Ofelia Medina and makes contact with the Zapatista communities in Chiapas, where she becomes strongly influenced by elements of indigenous symbolism and spirituality 
In 1997 she returns to Barcelona  In collaboration with Primitiva Reverter, Judit Bacardit, Montserrat Baqués, Mercè Candó, Caty Fernández and Aina Reverter she initiates the publication of the magazine Adiosas  With the same artists she exhibits in the gallery Espai22a 
In 1998 she works with the Dutch travelling theatre company "Azart Ship of Fools"  She travels and acts on the boat of the company and creates masks and part of the costumes for the work The Pilgrim at the End of the World 
In 1999 she establishes herself in Vilarnadal (Girona, Spain), where she lives for six years in an old mill  She paints and cultivates the earth 
In 2002 she exhibits, together with her sister, the sculptor Judit Bacardit, in the information centre of the Parc dels Aiguamolls de l’Empordà and in the exhibition rooms of the Caixa Girona in Roses 
In 2003 they exhibit again at this location  She participates in the European meeting of woman artists "In Via" in Switzerland 
In 2004 she creates the stage design and decorations for the programme "The Ship of Fools" for the local television in Amsterdam 
Since 2005 she lives in Barcelona 

Notes
Context 3:  Finally, back to the convent, they pass in front of the Hermitage of San Blas of said locality  All the atmosphere related to the convent is located in the chapel of the Cristo del Caloco in El Espinar (Segovia) one which has great devotion in the region;
The figure of the Christ, however, does not correspond to that of the Caloco, but is a sculpture of the sculptor Antonio Simont and is currently on the altar of the Chapel of St  Teresa of the Convent of the Carmelites of Don Benito (Badajoz)  There it ended up at the wish of one of the sound engineers of the film, Miguel López Cabrera, whose sister was a nun in the convent 

Remakes
A Philippine remake of Miracle of Marcelino, under its original title, was released in 1979 
An Italian remake, Marcellino, was produced in 1991 in color, and was much less successful than the original film 
In 2000, VIP Toons of Spain, PMMP and TF1 of France and Nippon Animation of Japan created the first TV series adaptation of the story, also titled Marcelino Pan y Vino after the original novel   The first 26-episode run (2000-2001) was adapted into several languages, including French, Spanish, Tagalog, Portuguese, and Italian, and became a success across Europe  An additional 26 episodes were made in 2004 and aired in Germany in 2006 
The film became the inspiration for the 2009–2010 ABS-CBN teleserye, May Bukas Pa 
A Mexican remake was released on 16 December 2010, with the basic storyline and framed by the Mexican Revolution of 1910 
The 2023 Brazilian telenovela Amor Perfeito is also based on Marcelino, pan y vino 

Awards
Won1955 Cannes Film FestivalOCIC Award - Special Mention
Pablito Calvo - Special Mention
5th Berlin International Film Festival: Silver BearNominated1955 Cannes Film Festival: Palme d'Or
Passage 6:
José María Sánchez-Silva
José María Sánchez-Silva y García-Morales (11 November 1911 – 13 January 2002) was a Spanish writer  He received the Hans Christian Andersen Medal in 1968 for his contribution to children's literature  He is best known for his novel Marcelino Bread and Wine (1953) which was filmed in 1955, as Miracle of Marcelino 

Early life
Sánchez-Silva was born in Madrid  His father, also José María Sánchez Silva, was a journalist close to anarchism, writing in the journal Earth, who went into exile in 1939  The family had been unstructured and the son (Sánchez-Silva) at times was practically a vagrant child  He joined institutions for orphans and children at risk such as Del Pardo School of Madrid (dependent on the City Council of Madrid)  In these institutions he learned typing and shorthand, which earned him a stenographer's position in Madrid 

Career
In 1934, he published his first book The Man in the Scarf 
During the Spanish Civil War, he remained in the Republican zone in Madrid, working with the Falange until Nationalist troops entered the city  In 1939, he began working as a journalist in the newspaper Arriba  He became assistant principal of the paper and collaborated with the newspaper El Pueblo 
Sánchez-Silva won fame as a result of Marcelino Bread and Wine (Marcelino, pan y vino, 1953), which was made into a film by Ladislao Vajda as Miracle of Marcelino, and became one of the great successes of Spanish cinema worldwide  It was further adapted into Marcelino (anime) 
After the success of Marcelino, he returned to the character in stories Marcelino Pan y Vino and Adventures in the sky Marcelino Pan y Vino 
Together with José Luis Sáenz de Heredia, he was the author of the screenplay of the movie Franco, ese hombre, a biography in the caudillo 

Awards
The biennial Hans Christian Andersen Award conferred by the International Board on Books for Young People is the highest recognition available to a writer or illustrator of children's books  Sánchez-Silva received the writing award in 1966 He won the Spanish prize for literature in 1957 
Passage 7:
Abe Meyer
Abe Meyer (1901–1969) was an American composer of film scores 

Selected filmography
Painted Faces (1929)
Honeymoon Lane (1931)
Unholy Love (1932)
A Strange Adventure (1932)
Take the Stand (1934)
Legong (1935)
The Unwelcome Stranger (1935)
Suicide Squad (1935)
The Mine with the Iron Door (1936)
The Devil on Horseback (1936)
Song of the Trail (1936)
County Fair (1937)
The 13th Man (1937)
Raw Timber (1937)
Roaring Timber (1937)
The Law Commands (1937)
The Painted Trail (1938)
My Old Kentucky Home (1938)
The Secret of Treasure Island (1938)
Saleslady (1938)
Numbered Woman  (1938)
The Marines Are Here (1938)
Fisherman's Wharf (1939)
Undercover Agent (1939)
Passage 8:
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



ground_truth: November 3, 1867

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 film Miracle Of Marcelino?

The following are given passages.
Context 3:   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 9:
Pablo Sorozábal
Pablo Sorozábal Mariezcurrena (18 September 1897 – 26 December 1988) was a Spanish composer of zarzuelas, operas, symphonic works, and the popular romanza, "No puede ser" 
He was born in San Sebastián, in a working-class family  Trained in San Sebastián, Madrid and Leipzig; then in Berlin, where he preferred Friedrich Koch as composition teacher to Arnold Schönberg, whose theories he disliked  It was in Germany that he made his conducting debut, and the rostrum remained at the centre of his working life  His Leipzig concert works include the choral Suite vasca (1923); Dos apuntes Vascos (1925) and Symphonic Variations on a Basque Theme (1927); of later works the funeral march Gernika for chorus and orchestra (1966) is outstanding  The Siete Lieder, 1929 settings of Heinrich Heine for mezzo-soprano and orchestra, are perhaps the finest works he produced in Germany  Two short but powerful compositions for chorus and orchestra, Maite (‘Our Lady’, from the 1946 film Jai-Alai) and ¡Ay, tierra vasca! (1956) retain their place in the hearts of his Basque countrymen 
Katiuska (1931) was his stage debut, and the twenty or so zarzuelas which followed combine lyric fire and inimitable orchestration with an unfailing sense of theatre  Best-loved are his classic madrileño comedy La del manojo de rosas (1934) and the “nautical romance” set on the Atlantic Coast La tabernera del puerto of 1936  The latter includes the romanza "No puede ser", made internationally popular when sung in the Three Tenors concerts by Plácido Domingo  His one-act verismo opera Adiós a la bohemia (from a short story by Pío Baroja) also retains its popularity in Spain 
Sorozábal's liberal sympathies left him somewhat isolated after the Spanish Civil War, and many of his later zarzuelas were first seen outside the capital or in less prestigious Madrid theatres  They include the ambitious, allegorical romance Black, el payaso (1942) and the ski-sports musical Don Manolito (1943), both of which starred popular Basque soprano Pepita Embil 
Sorozábal also wrote scores for non-musical films, notably the classic Spanish film Marcelino Pan y Vino (1955) 
His tenure as director of the Madrid Symphony Orchestra ended abruptly in 1952 when he was refused permission to conduct Shostakovich’s Leningrad Symphony; and though his musical comedy Las de Caín was premiered at the Teatro de la Zarzuela in 1958, the opera Juan José had to wait for its belated (and highly successful) concert premiere until February 2009, after a full production was suspended during rehearsals in Madrid during 1979  With his death in Madrid on 26 December 1988 the last chapter in the creative history of the romantic zarzuela came to an end  Sorozábal's theatrical vitality, musical wit and dramatic force are second to none in the history of zarzuela and rival the best of his German and Italian music theatre contemporaries, such as Kurt Weill 
Passage 10:
Rafael Calvo
Rafael Luis Calvo Muñoz (30 December 1911 – 9 December 1988) was a Spanish film actor  He appeared in more than 60 films including Miracle of Marcelino (1955) 

Selected filmography



ground_truth: Madrid