Question: Luonnotar, Op. 70, is a tone-poem for soprano and orchestra, completed by who, in 1913, was a Finnish composer and violinist of the late Romantic and early-modern periods?
Context: The Bard, Op.  64, is a brief tone poem for orchestra composed in 1913 by Finnish composer Jean Sibelius.  It was first performed in Helsinki on 27 March 1913 by the Philharmonic Society Orchestra, conducted by the composer himself, but he revised it in 1914.  The new version was first performed in Helsinki on 9 January 1916, again under the baton of the composer. Jean Sibelius ( ;    ), born Johan Julius Christian Sibelius (8 December 186520 September 1957), was a Finnish composer and violinist of the late Romantic and early-modern periods.  He is widely recognized as his country's greatest composer and, through his music, is often credited with having helped Finland to develop a national identity during its struggle for independence from Russia. Luonnotar, Op. 70, is a tone-poem for soprano and orchestra, completed by Jean Sibelius in 1913.  It was dedicated to Aino Ackté, who premiered the work at the Three Choirs Festival in Gloucester, England on 10 September 1913, with an orchestra conducted by Herbert Brewer.  Sibelius arranged it for voice and piano in 1915. Toivo Timoteus Kuula (7 July 1883, Vaasa – 18 May 1918, Viipuri) was a Finnish composer and conductor of the late-Romantic and early-modern periods, who emerged in the wake of Jean Sibelius, under whom he studied privately from 1906 to 1908.  The core of Kuula's oeuvre are his many works for voice and orchestra, in particular the "Stabat mater" (1914–18; completed by Madetoja), "The Sea-Bathing Maidens" (1910), "Son of a Slave" (1910), and "The Maiden and the Boyar's Son" (1912).  In addition he also composed to "Ostrobothnian Suites" for orchestra and left an unfinished symphony at the time of his death in 1918. The tone poem Pohjola's Daughter (Pohjolan tytär ), Op.  49, was composed by the Finnish composer Jean Sibelius in 1906.  Originally, Sibelius intended to title the work "Väinämöinen ", after the character in the "Kalevala " (the Finnish national epic).  The publisher Robert Lienau insisted on the German title "Tochter des Nordens" ("Daughter of the North"), which means the same as the work's Finnish title, "Pohjolan tytär", but is traditionally translated as "Pohjola's Daughter" in English, which Sibelius then countered with the new title "L'aventure d'un héros ".  He also considered the title "Luonnotar ".  However, Lienau's suggestion eventually became the work's published title.  (The title "Luonnotar " was given to a later work.)  This was Sibelius' first work that he wrote directly for a German music publisher.  The first performance was in Saint Petersburg, Russia in December 1906, with the composer himself conducting the Orchestra of the Mariinsky Theatre. An Esquire of the Body was a personal attendant and courtier to the Kings of England in the late-medieval and early-modern periods.  The position also existed in some lesser courts, such as that of the Prince of Wales. Elegia (In English: Elegy; occasionally with the Finnish subtitle "Suru ", or "Sadness"), Op.  4/1, is a composition for string orchestra by the Finnish composer Leevi Madetoja, who wrote the piece in 1909 during his student years.  On 10 January 1910, Robert Kajanus, chief conductor of the Helsinki Orchestral Society, premiered the "Elegia" to great acclaim, with the piece described as the "first master work" of a budding "natural orchestral composer".  Madetoja subsequently designated the "Elegia" as the first number in his four-movement "Sinfoninen sarja" ("Symphonic Suite"), Op. 4, which the Helsinki Orchestral Society performed in its entirety under the composer's baton on 26 September 1910.  The suite's three other numbers are virtually unknown, and the "Elegia" typically is performed as a stand-alone concert piece.  Stylistically reminiscent of Tchaikovsky, it is, to date, Madetoja's most recorded and well-known orchestral composition, as well as the most enduringly popular of his many miniatures. Leevi Antti Madetoja (] ; 17 February 1887, Oulu – 6 October 1947, Helsinki) was a Finnish composer, music critic, conductor, and teacher of the late-Romantic and early-modern periods; he is generally considered to be among the most significant Finnish composers to emerge after Jean Sibelius, under whom he studied privately from 1908–10.  The core of Madetoja's oeuvre consists of a set of three symphonies (1916, 1918, and 1926), arguably the finest early-twentieth century additions to the Finnish canon of any composer, Sibelius excepted.  As central to Madetoja's legacy is his opera, "The Ostrobothnians" (1924), dubbed Finland's "national opera" following its successful premiere and, even today, a stalwart of its repertoire.  Madetoja's other notable works include an "Elegia" for strings (1909); "The Garden of Death" (1918–21), a three-movement suite for solo piano; the "Japanisme" ballet-pantomime, "Okon Fuoko" (1927); and, a second opera, "Juha" (1935). The following is a complete list of the orchestral and chamber works of the Finnish composer Jean Sibelius, as well as an incomplete list of works for solo piano, chorus, and voice.  Primarily known for his compositions for orchestra, the core of Sibelius's oeuvre is his set of seven symphonies, the Violin Concerto, and a number of tone poems, in particular "En saga", "Lemminkäinen" (which includes "The Swan of Tuonela"), "Finlandia", "Pohjola's Daughter", "The Oceanides", and "Tapiola".  In addition, works such as the "Karelia Suite", "Valse triste", "Kullervo", "Luonnotar", "Pelléas et Mélisande", "The Tempest", and the String Quartet in D minor, "Voces intimae" have found favor with the public. March law (Anglo-Scottish border) (or Marcher law, or laws and customs of the marches) was a system of customary international law dealing with cross-border dispute settlement, operating during the medieval and early-modern periods in the area of the Anglo-Scottish border or Anglo-Scottish marches - the word "march" being the Old English form of the Old French word "marche" meaning "boundary" (the Anglo-Welsh border and the Anglo-Irish marches had their own versions of "the Law of the Marches").  They were " essentially a set of regulations for the prosecution of offences committed by the inhabitants of one country inside the territory of the other, and for the recovery of property stolen or lent across their common border."
Answer: Jean Sibelius