gaussalgo/Canard_Wiki-augmented huggingface dataset:
Richard Wagner

Context: Wagner's later musical style introduced new ideas in harmony, melodic process (leitmotif) and operatic structure. Notably from Tristan und Isolde onwards, he explored the limits of the traditional tonal system, which gave keys and chords their identity, pointing the way to atonality in the 20th century. Some music historians date the beginning of modern classical music to the first notes of Tristan, which include the so-called Tristan chord. Wagner inspired great devotion. For a long period, many composers were inclined to align themselves with or against Wagner's music. Anton Bruckner and Hugo Wolf were greatly indebted to him, as were Cesar Franck, Henri Duparc, Ernest Chausson, Jules Massenet, Richard Strauss, Alexander von Zemlinsky, Hans Pfitzner and numerous others. Gustav Mahler was devoted to Wagner and his music; aged 15, he sought him out on his 1875 visit to Vienna, became a renowned Wagner conductor, and his compositions are seen by Richard Taruskin as extending Wagner's "maximalization" of "the temporal and the sonorous" in music to the world of the symphony. The harmonic revolutions of Claude Debussy and Arnold Schoenberg (both of whose oeuvres contain examples of tonal and atonal modernism) have often been traced back to Tristan and Parsifal. The Italian form of operatic realism known as verismo owed much to the Wagnerian concept of musical form. Wagner made a major contribution to the principles and practice of conducting. His essay "About Conducting" (1869) advanced Hector Berlioz's technique of conducting and claimed that conducting was a means by which a musical work could be re-interpreted, rather than simply a mechanism for achieving orchestral unison. He exemplified this approach in his own conducting, which was significantly more flexible than the disciplined approach of Felix Mendelssohn; in his view this also justified practices that would today be frowned upon, such as the rewriting of scores. Wilhelm Furtwangler felt that Wagner and Bulow, through their interpretative approach, inspired a whole new generation of conductors (including Furtwangler himself). Amongst those claiming inspiration from Wagner's music are the German band Rammstein, and the electronic composer Klaus Schulze, whose 1975 album Timewind consists of two 30-minute tracks, Bayreuth Return and Wahnfried 1883. Joey DeMaio of the band Manowar has described Wagner as "The father of heavy metal". The Slovenian group Laibach created the 2009 suite VolksWagner, using material from Wagner's operas. Phil Spector's Wall of Sound recording technique was, it has been claimed, heavily influenced by Wagner. CANNOTANSWER

Question: What influence did Richard Wagner have?
Answer: Wagner made a major contribution to the principles and practice of conducting.
Richard Wagner

Context: Wagner's later musical style introduced new ideas in harmony, melodic process (leitmotif) and operatic structure. Notably from Tristan und Isolde onwards, he explored the limits of the traditional tonal system, which gave keys and chords their identity, pointing the way to atonality in the 20th century. Some music historians date the beginning of modern classical music to the first notes of Tristan, which include the so-called Tristan chord. Wagner inspired great devotion. For a long period, many composers were inclined to align themselves with or against Wagner's music. Anton Bruckner and Hugo Wolf were greatly indebted to him, as were Cesar Franck, Henri Duparc, Ernest Chausson, Jules Massenet, Richard Strauss, Alexander von Zemlinsky, Hans Pfitzner and numerous others. Gustav Mahler was devoted to Wagner and his music; aged 15, he sought him out on his 1875 visit to Vienna, became a renowned Wagner conductor, and his compositions are seen by Richard Taruskin as extending Wagner's "maximalization" of "the temporal and the sonorous" in music to the world of the symphony. The harmonic revolutions of Claude Debussy and Arnold Schoenberg (both of whose oeuvres contain examples of tonal and atonal modernism) have often been traced back to Tristan and Parsifal. The Italian form of operatic realism known as verismo owed much to the Wagnerian concept of musical form. Wagner made a major contribution to the principles and practice of conducting. His essay "About Conducting" (1869) advanced Hector Berlioz's technique of conducting and claimed that conducting was a means by which a musical work could be re-interpreted, rather than simply a mechanism for achieving orchestral unison. He exemplified this approach in his own conducting, which was significantly more flexible than the disciplined approach of Felix Mendelssohn; in his view this also justified practices that would today be frowned upon, such as the rewriting of scores. Wilhelm Furtwangler felt that Wagner and Bulow, through their interpretative approach, inspired a whole new generation of conductors (including Furtwangler himself). Amongst those claiming inspiration from Wagner's music are the German band Rammstein, and the electronic composer Klaus Schulze, whose 1975 album Timewind consists of two 30-minute tracks, Bayreuth Return and Wahnfried 1883. Joey DeMaio of the band Manowar has described Wagner as "The father of heavy metal". The Slovenian group Laibach created the 2009 suite VolksWagner, using material from Wagner's operas. Phil Spector's Wall of Sound recording technique was, it has been claimed, heavily influenced by Wagner. CANNOTANSWER

Question: Other than inspiring great devotion, are there any other interesting aspects about Richard Wagner?
Answer: technique of conducting and claimed that conducting was a means by which a musical work could be re-interpreted,
Richard Wagner

Context: Wagner's later musical style introduced new ideas in harmony, melodic process (leitmotif) and operatic structure. Notably from Tristan und Isolde onwards, he explored the limits of the traditional tonal system, which gave keys and chords their identity, pointing the way to atonality in the 20th century. Some music historians date the beginning of modern classical music to the first notes of Tristan, which include the so-called Tristan chord. Wagner inspired great devotion. For a long period, many composers were inclined to align themselves with or against Wagner's music. Anton Bruckner and Hugo Wolf were greatly indebted to him, as were Cesar Franck, Henri Duparc, Ernest Chausson, Jules Massenet, Richard Strauss, Alexander von Zemlinsky, Hans Pfitzner and numerous others. Gustav Mahler was devoted to Wagner and his music; aged 15, he sought him out on his 1875 visit to Vienna, became a renowned Wagner conductor, and his compositions are seen by Richard Taruskin as extending Wagner's "maximalization" of "the temporal and the sonorous" in music to the world of the symphony. The harmonic revolutions of Claude Debussy and Arnold Schoenberg (both of whose oeuvres contain examples of tonal and atonal modernism) have often been traced back to Tristan and Parsifal. The Italian form of operatic realism known as verismo owed much to the Wagnerian concept of musical form. Wagner made a major contribution to the principles and practice of conducting. His essay "About Conducting" (1869) advanced Hector Berlioz's technique of conducting and claimed that conducting was a means by which a musical work could be re-interpreted, rather than simply a mechanism for achieving orchestral unison. He exemplified this approach in his own conducting, which was significantly more flexible than the disciplined approach of Felix Mendelssohn; in his view this also justified practices that would today be frowned upon, such as the rewriting of scores. Wilhelm Furtwangler felt that Wagner and Bulow, through their interpretative approach, inspired a whole new generation of conductors (including Furtwangler himself). Amongst those claiming inspiration from Wagner's music are the German band Rammstein, and the electronic composer Klaus Schulze, whose 1975 album Timewind consists of two 30-minute tracks, Bayreuth Return and Wahnfried 1883. Joey DeMaio of the band Manowar has described Wagner as "The father of heavy metal". The Slovenian group Laibach created the 2009 suite VolksWagner, using material from Wagner's operas. Phil Spector's Wall of Sound recording technique was, it has been claimed, heavily influenced by Wagner. CANNOTANSWER

Question: Besides the composers' inclination to Wagner, what else was known about Wagner?
Answer: Phil Spector's Wall of Sound recording technique was, it has been claimed, heavily influenced by Wagner.
Richard Wagner

Context: Wagner's later musical style introduced new ideas in harmony, melodic process (leitmotif) and operatic structure. Notably from Tristan und Isolde onwards, he explored the limits of the traditional tonal system, which gave keys and chords their identity, pointing the way to atonality in the 20th century. Some music historians date the beginning of modern classical music to the first notes of Tristan, which include the so-called Tristan chord. Wagner inspired great devotion. For a long period, many composers were inclined to align themselves with or against Wagner's music. Anton Bruckner and Hugo Wolf were greatly indebted to him, as were Cesar Franck, Henri Duparc, Ernest Chausson, Jules Massenet, Richard Strauss, Alexander von Zemlinsky, Hans Pfitzner and numerous others. Gustav Mahler was devoted to Wagner and his music; aged 15, he sought him out on his 1875 visit to Vienna, became a renowned Wagner conductor, and his compositions are seen by Richard Taruskin as extending Wagner's "maximalization" of "the temporal and the sonorous" in music to the world of the symphony. The harmonic revolutions of Claude Debussy and Arnold Schoenberg (both of whose oeuvres contain examples of tonal and atonal modernism) have often been traced back to Tristan and Parsifal. The Italian form of operatic realism known as verismo owed much to the Wagnerian concept of musical form. Wagner made a major contribution to the principles and practice of conducting. His essay "About Conducting" (1869) advanced Hector Berlioz's technique of conducting and claimed that conducting was a means by which a musical work could be re-interpreted, rather than simply a mechanism for achieving orchestral unison. He exemplified this approach in his own conducting, which was significantly more flexible than the disciplined approach of Felix Mendelssohn; in his view this also justified practices that would today be frowned upon, such as the rewriting of scores. Wilhelm Furtwangler felt that Wagner and Bulow, through their interpretative approach, inspired a whole new generation of conductors (including Furtwangler himself). Amongst those claiming inspiration from Wagner's music are the German band Rammstein, and the electronic composer Klaus Schulze, whose 1975 album Timewind consists of two 30-minute tracks, Bayreuth Return and Wahnfried 1883. Joey DeMaio of the band Manowar has described Wagner as "The father of heavy metal". The Slovenian group Laibach created the 2009 suite VolksWagner, using material from Wagner's operas. Phil Spector's Wall of Sound recording technique was, it has been claimed, heavily influenced by Wagner. CANNOTANSWER

Question: Other than Anton Bruckner and Hugo Wolf, who else was indebted to Wagner?
Answer: Anton Bruckner and Hugo Wolf
Richard Wagner

Context: Wagner's later musical style introduced new ideas in harmony, melodic process (leitmotif) and operatic structure. Notably from Tristan und Isolde onwards, he explored the limits of the traditional tonal system, which gave keys and chords their identity, pointing the way to atonality in the 20th century. Some music historians date the beginning of modern classical music to the first notes of Tristan, which include the so-called Tristan chord. Wagner inspired great devotion. For a long period, many composers were inclined to align themselves with or against Wagner's music. Anton Bruckner and Hugo Wolf were greatly indebted to him, as were Cesar Franck, Henri Duparc, Ernest Chausson, Jules Massenet, Richard Strauss, Alexander von Zemlinsky, Hans Pfitzner and numerous others. Gustav Mahler was devoted to Wagner and his music; aged 15, he sought him out on his 1875 visit to Vienna, became a renowned Wagner conductor, and his compositions are seen by Richard Taruskin as extending Wagner's "maximalization" of "the temporal and the sonorous" in music to the world of the symphony. The harmonic revolutions of Claude Debussy and Arnold Schoenberg (both of whose oeuvres contain examples of tonal and atonal modernism) have often been traced back to Tristan and Parsifal. The Italian form of operatic realism known as verismo owed much to the Wagnerian concept of musical form. Wagner made a major contribution to the principles and practice of conducting. His essay "About Conducting" (1869) advanced Hector Berlioz's technique of conducting and claimed that conducting was a means by which a musical work could be re-interpreted, rather than simply a mechanism for achieving orchestral unison. He exemplified this approach in his own conducting, which was significantly more flexible than the disciplined approach of Felix Mendelssohn; in his view this also justified practices that would today be frowned upon, such as the rewriting of scores. Wilhelm Furtwangler felt that Wagner and Bulow, through their interpretative approach, inspired a whole new generation of conductors (including Furtwangler himself). Amongst those claiming inspiration from Wagner's music are the German band Rammstein, and the electronic composer Klaus Schulze, whose 1975 album Timewind consists of two 30-minute tracks, Bayreuth Return and Wahnfried 1883. Joey DeMaio of the band Manowar has described Wagner as "The father of heavy metal". The Slovenian group Laibach created the 2009 suite VolksWagner, using material from Wagner's operas. Phil Spector's Wall of Sound recording technique was, it has been claimed, heavily influenced by Wagner. CANNOTANSWER

Question: Aside from Wagner's influence on others, what else stood out about Wagner?
Answer: structure. Notably from Tristan und Isolde onwards, he explored the limits of the traditional tonal system, which gave keys and chords their identity,
Richard Wagner

Context: Wagner's later musical style introduced new ideas in harmony, melodic process (leitmotif) and operatic structure. Notably from Tristan und Isolde onwards, he explored the limits of the traditional tonal system, which gave keys and chords their identity, pointing the way to atonality in the 20th century. Some music historians date the beginning of modern classical music to the first notes of Tristan, which include the so-called Tristan chord. Wagner inspired great devotion. For a long period, many composers were inclined to align themselves with or against Wagner's music. Anton Bruckner and Hugo Wolf were greatly indebted to him, as were Cesar Franck, Henri Duparc, Ernest Chausson, Jules Massenet, Richard Strauss, Alexander von Zemlinsky, Hans Pfitzner and numerous others. Gustav Mahler was devoted to Wagner and his music; aged 15, he sought him out on his 1875 visit to Vienna, became a renowned Wagner conductor, and his compositions are seen by Richard Taruskin as extending Wagner's "maximalization" of "the temporal and the sonorous" in music to the world of the symphony. The harmonic revolutions of Claude Debussy and Arnold Schoenberg (both of whose oeuvres contain examples of tonal and atonal modernism) have often been traced back to Tristan and Parsifal. The Italian form of operatic realism known as verismo owed much to the Wagnerian concept of musical form. Wagner made a major contribution to the principles and practice of conducting. His essay "About Conducting" (1869) advanced Hector Berlioz's technique of conducting and claimed that conducting was a means by which a musical work could be re-interpreted, rather than simply a mechanism for achieving orchestral unison. He exemplified this approach in his own conducting, which was significantly more flexible than the disciplined approach of Felix Mendelssohn; in his view this also justified practices that would today be frowned upon, such as the rewriting of scores. Wilhelm Furtwangler felt that Wagner and Bulow, through their interpretative approach, inspired a whole new generation of conductors (including Furtwangler himself). Amongst those claiming inspiration from Wagner's music are the German band Rammstein, and the electronic composer Klaus Schulze, whose 1975 album Timewind consists of two 30-minute tracks, Bayreuth Return and Wahnfried 1883. Joey DeMaio of the band Manowar has described Wagner as "The father of heavy metal". The Slovenian group Laibach created the 2009 suite VolksWagner, using material from Wagner's operas. Phil Spector's Wall of Sound recording technique was, it has been claimed, heavily influenced by Wagner. CANNOTANSWER

Question: What kind of music did Richard Wagner make?
Answer: The Italian form of operatic realism known as verismo owed much to the Wagnerian concept of musical form.
Richard Wagner

Context: Wagner's later musical style introduced new ideas in harmony, melodic process (leitmotif) and operatic structure. Notably from Tristan und Isolde onwards, he explored the limits of the traditional tonal system, which gave keys and chords their identity, pointing the way to atonality in the 20th century. Some music historians date the beginning of modern classical music to the first notes of Tristan, which include the so-called Tristan chord. Wagner inspired great devotion. For a long period, many composers were inclined to align themselves with or against Wagner's music. Anton Bruckner and Hugo Wolf were greatly indebted to him, as were Cesar Franck, Henri Duparc, Ernest Chausson, Jules Massenet, Richard Strauss, Alexander von Zemlinsky, Hans Pfitzner and numerous others. Gustav Mahler was devoted to Wagner and his music; aged 15, he sought him out on his 1875 visit to Vienna, became a renowned Wagner conductor, and his compositions are seen by Richard Taruskin as extending Wagner's "maximalization" of "the temporal and the sonorous" in music to the world of the symphony. The harmonic revolutions of Claude Debussy and Arnold Schoenberg (both of whose oeuvres contain examples of tonal and atonal modernism) have often been traced back to Tristan and Parsifal. The Italian form of operatic realism known as verismo owed much to the Wagnerian concept of musical form. Wagner made a major contribution to the principles and practice of conducting. His essay "About Conducting" (1869) advanced Hector Berlioz's technique of conducting and claimed that conducting was a means by which a musical work could be re-interpreted, rather than simply a mechanism for achieving orchestral unison. He exemplified this approach in his own conducting, which was significantly more flexible than the disciplined approach of Felix Mendelssohn; in his view this also justified practices that would today be frowned upon, such as the rewriting of scores. Wilhelm Furtwangler felt that Wagner and Bulow, through their interpretative approach, inspired a whole new generation of conductors (including Furtwangler himself). Amongst those claiming inspiration from Wagner's music are the German band Rammstein, and the electronic composer Klaus Schulze, whose 1975 album Timewind consists of two 30-minute tracks, Bayreuth Return and Wahnfried 1883. Joey DeMaio of the band Manowar has described Wagner as "The father of heavy metal". The Slovenian group Laibach created the 2009 suite VolksWagner, using material from Wagner's operas. Phil Spector's Wall of Sound recording technique was, it has been claimed, heavily influenced by Wagner. CANNOTANSWER

Question: Besides harmony, melodic process (leitmotif) and operatic structure kind of music, what else was Richard Wagner known for?
Answer: Wagner made a major contribution to the principles and practice of conducting.
Richard Wagner

Context: Wagner's later musical style introduced new ideas in harmony, melodic process (leitmotif) and operatic structure. Notably from Tristan und Isolde onwards, he explored the limits of the traditional tonal system, which gave keys and chords their identity, pointing the way to atonality in the 20th century. Some music historians date the beginning of modern classical music to the first notes of Tristan, which include the so-called Tristan chord. Wagner inspired great devotion. For a long period, many composers were inclined to align themselves with or against Wagner's music. Anton Bruckner and Hugo Wolf were greatly indebted to him, as were Cesar Franck, Henri Duparc, Ernest Chausson, Jules Massenet, Richard Strauss, Alexander von Zemlinsky, Hans Pfitzner and numerous others. Gustav Mahler was devoted to Wagner and his music; aged 15, he sought him out on his 1875 visit to Vienna, became a renowned Wagner conductor, and his compositions are seen by Richard Taruskin as extending Wagner's "maximalization" of "the temporal and the sonorous" in music to the world of the symphony. The harmonic revolutions of Claude Debussy and Arnold Schoenberg (both of whose oeuvres contain examples of tonal and atonal modernism) have often been traced back to Tristan and Parsifal. The Italian form of operatic realism known as verismo owed much to the Wagnerian concept of musical form. Wagner made a major contribution to the principles and practice of conducting. His essay "About Conducting" (1869) advanced Hector Berlioz's technique of conducting and claimed that conducting was a means by which a musical work could be re-interpreted, rather than simply a mechanism for achieving orchestral unison. He exemplified this approach in his own conducting, which was significantly more flexible than the disciplined approach of Felix Mendelssohn; in his view this also justified practices that would today be frowned upon, such as the rewriting of scores. Wilhelm Furtwangler felt that Wagner and Bulow, through their interpretative approach, inspired a whole new generation of conductors (including Furtwangler himself). Amongst those claiming inspiration from Wagner's music are the German band Rammstein, and the electronic composer Klaus Schulze, whose 1975 album Timewind consists of two 30-minute tracks, Bayreuth Return and Wahnfried 1883. Joey DeMaio of the band Manowar has described Wagner as "The father of heavy metal". The Slovenian group Laibach created the 2009 suite VolksWagner, using material from Wagner's operas. Phil Spector's Wall of Sound recording technique was, it has been claimed, heavily influenced by Wagner. CANNOTANSWER

Question: What songs did Wagner make?
Answer: Tristan chord.
Richard Wagner

Context: Wagner's later musical style introduced new ideas in harmony, melodic process (leitmotif) and operatic structure. Notably from Tristan und Isolde onwards, he explored the limits of the traditional tonal system, which gave keys and chords their identity, pointing the way to atonality in the 20th century. Some music historians date the beginning of modern classical music to the first notes of Tristan, which include the so-called Tristan chord. Wagner inspired great devotion. For a long period, many composers were inclined to align themselves with or against Wagner's music. Anton Bruckner and Hugo Wolf were greatly indebted to him, as were Cesar Franck, Henri Duparc, Ernest Chausson, Jules Massenet, Richard Strauss, Alexander von Zemlinsky, Hans Pfitzner and numerous others. Gustav Mahler was devoted to Wagner and his music; aged 15, he sought him out on his 1875 visit to Vienna, became a renowned Wagner conductor, and his compositions are seen by Richard Taruskin as extending Wagner's "maximalization" of "the temporal and the sonorous" in music to the world of the symphony. The harmonic revolutions of Claude Debussy and Arnold Schoenberg (both of whose oeuvres contain examples of tonal and atonal modernism) have often been traced back to Tristan and Parsifal. The Italian form of operatic realism known as verismo owed much to the Wagnerian concept of musical form. Wagner made a major contribution to the principles and practice of conducting. His essay "About Conducting" (1869) advanced Hector Berlioz's technique of conducting and claimed that conducting was a means by which a musical work could be re-interpreted, rather than simply a mechanism for achieving orchestral unison. He exemplified this approach in his own conducting, which was significantly more flexible than the disciplined approach of Felix Mendelssohn; in his view this also justified practices that would today be frowned upon, such as the rewriting of scores. Wilhelm Furtwangler felt that Wagner and Bulow, through their interpretative approach, inspired a whole new generation of conductors (including Furtwangler himself). Amongst those claiming inspiration from Wagner's music are the German band Rammstein, and the electronic composer Klaus Schulze, whose 1975 album Timewind consists of two 30-minute tracks, Bayreuth Return and Wahnfried 1883. Joey DeMaio of the band Manowar has described Wagner as "The father of heavy metal". The Slovenian group Laibach created the 2009 suite VolksWagner, using material from Wagner's operas. Phil Spector's Wall of Sound recording technique was, it has been claimed, heavily influenced by Wagner. CANNOTANSWER

Question: Did Wagner make any other songs in addition to Timewind.
Answer: CANNOTANSWER
Richard Wagner

Context: Wagner's later musical style introduced new ideas in harmony, melodic process (leitmotif) and operatic structure. Notably from Tristan und Isolde onwards, he explored the limits of the traditional tonal system, which gave keys and chords their identity, pointing the way to atonality in the 20th century. Some music historians date the beginning of modern classical music to the first notes of Tristan, which include the so-called Tristan chord. Wagner inspired great devotion. For a long period, many composers were inclined to align themselves with or against Wagner's music. Anton Bruckner and Hugo Wolf were greatly indebted to him, as were Cesar Franck, Henri Duparc, Ernest Chausson, Jules Massenet, Richard Strauss, Alexander von Zemlinsky, Hans Pfitzner and numerous others. Gustav Mahler was devoted to Wagner and his music; aged 15, he sought him out on his 1875 visit to Vienna, became a renowned Wagner conductor, and his compositions are seen by Richard Taruskin as extending Wagner's "maximalization" of "the temporal and the sonorous" in music to the world of the symphony. The harmonic revolutions of Claude Debussy and Arnold Schoenberg (both of whose oeuvres contain examples of tonal and atonal modernism) have often been traced back to Tristan and Parsifal. The Italian form of operatic realism known as verismo owed much to the Wagnerian concept of musical form. Wagner made a major contribution to the principles and practice of conducting. His essay "About Conducting" (1869) advanced Hector Berlioz's technique of conducting and claimed that conducting was a means by which a musical work could be re-interpreted, rather than simply a mechanism for achieving orchestral unison. He exemplified this approach in his own conducting, which was significantly more flexible than the disciplined approach of Felix Mendelssohn; in his view this also justified practices that would today be frowned upon, such as the rewriting of scores. Wilhelm Furtwangler felt that Wagner and Bulow, through their interpretative approach, inspired a whole new generation of conductors (including Furtwangler himself). Amongst those claiming inspiration from Wagner's music are the German band Rammstein, and the electronic composer Klaus Schulze, whose 1975 album Timewind consists of two 30-minute tracks, Bayreuth Return and Wahnfried 1883. Joey DeMaio of the band Manowar has described Wagner as "The father of heavy metal". The Slovenian group Laibach created the 2009 suite VolksWagner, using material from Wagner's operas. Phil Spector's Wall of Sound recording technique was, it has been claimed, heavily influenced by Wagner. CANNOTANSWER

Question: Aside from Wagner's influence, type of music and songs, what else did you read about Wagner?
Answer: Amongst those claiming inspiration from Wagner's music are the German band Rammstein,
Richard Wagner

Context: Wagner's later musical style introduced new ideas in harmony, melodic process (leitmotif) and operatic structure. Notably from Tristan und Isolde onwards, he explored the limits of the traditional tonal system, which gave keys and chords their identity, pointing the way to atonality in the 20th century. Some music historians date the beginning of modern classical music to the first notes of Tristan, which include the so-called Tristan chord. Wagner inspired great devotion. For a long period, many composers were inclined to align themselves with or against Wagner's music. Anton Bruckner and Hugo Wolf were greatly indebted to him, as were Cesar Franck, Henri Duparc, Ernest Chausson, Jules Massenet, Richard Strauss, Alexander von Zemlinsky, Hans Pfitzner and numerous others. Gustav Mahler was devoted to Wagner and his music; aged 15, he sought him out on his 1875 visit to Vienna, became a renowned Wagner conductor, and his compositions are seen by Richard Taruskin as extending Wagner's "maximalization" of "the temporal and the sonorous" in music to the world of the symphony. The harmonic revolutions of Claude Debussy and Arnold Schoenberg (both of whose oeuvres contain examples of tonal and atonal modernism) have often been traced back to Tristan and Parsifal. The Italian form of operatic realism known as verismo owed much to the Wagnerian concept of musical form. Wagner made a major contribution to the principles and practice of conducting. His essay "About Conducting" (1869) advanced Hector Berlioz's technique of conducting and claimed that conducting was a means by which a musical work could be re-interpreted, rather than simply a mechanism for achieving orchestral unison. He exemplified this approach in his own conducting, which was significantly more flexible than the disciplined approach of Felix Mendelssohn; in his view this also justified practices that would today be frowned upon, such as the rewriting of scores. Wilhelm Furtwangler felt that Wagner and Bulow, through their interpretative approach, inspired a whole new generation of conductors (including Furtwangler himself). Amongst those claiming inspiration from Wagner's music are the German band Rammstein, and the electronic composer Klaus Schulze, whose 1975 album Timewind consists of two 30-minute tracks, Bayreuth Return and Wahnfried 1883. Joey DeMaio of the band Manowar has described Wagner as "The father of heavy metal". The Slovenian group Laibach created the 2009 suite VolksWagner, using material from Wagner's operas. Phil Spector's Wall of Sound recording technique was, it has been claimed, heavily influenced by Wagner. CANNOTANSWER

Question: Aside from the inspiration of great devotion, what else did Wagner influence?
Answer: Phil Spector's
Ezio Pinza

Context: Pinza's Metropolitan Opera debut occurred in November 1926 in Spontini's La vestale, with famed American soprano Rosa Ponselle in the title role. In 1929, he sang Don Giovanni, a role with which he was subsequently to become closely identified. He subsequently added the Mozart roles Figaro (in 1940) and Sarastro (in 1942) to his repertoire, a vast number of Italian operatic roles of Bellini, Donizetti, and Verdi, and Mussorgsky's Boris Godunov (sung in Italian). Apart from the Met, Pinza appeared at the Royal Opera House, Covent Garden, in 1930-1939, and was invited to sing at the Salzburg Festival in 1934-1937 by the celebrated German conductor Bruno Walter. Pinza sang once again under the baton of Toscanini in 1935, this time with the New York Philharmonic Orchestra, as the bass soloist in performances of Beethoven's Missa Solemnis. One of these performances was broadcast by CBS and preserved on transcription discs; this recording has been issued on LPs and CDs. He also sang in Toscanini's February 6, 1938, NBC Symphony Orchestra's broadcast performance of Beethoven's Ninth Symphony. These performances both took place in Carnegie Hall. In March 1942 he was arrested and detained 3 months on Ellis Island with hundreds of other Italian-Americans who were suspected of supporting the Axis. In October 1947 he performed the role of Mephistopheles in Guonod's Faust opposite his daughter, soprano Claudia Pinza Bozzolla, as Marguerite at the San Francisco Opera. Pinza retired from the Metropolitan Opera in 1948. He had sung opposite many celebrated singers at the Met during his heyday. They included, among others, such international stars as Amelita Galli-Curci, Rosa Ponselle, Elisabeth Rethberg, Giovanni Martinelli, Beniamino Gigli, Lawrence Tibbett, Giuseppe De Luca, and Salvatore Baccaloni. The Metropolitan Opera honored Pinza by dedicating all the water fountains at the new Metropolitan Opera House (Lincoln Center) to him. Before his retirement from opera, his repertoire consisted of some 95 classical roles. CANNOTANSWER

Question: When did Ezio Pinza start performing in operas?
Answer: Pinza's Metropolitan Opera debut occurred in November 1926
Ezio Pinza

Context: Pinza's Metropolitan Opera debut occurred in November 1926 in Spontini's La vestale, with famed American soprano Rosa Ponselle in the title role. In 1929, he sang Don Giovanni, a role with which he was subsequently to become closely identified. He subsequently added the Mozart roles Figaro (in 1940) and Sarastro (in 1942) to his repertoire, a vast number of Italian operatic roles of Bellini, Donizetti, and Verdi, and Mussorgsky's Boris Godunov (sung in Italian). Apart from the Met, Pinza appeared at the Royal Opera House, Covent Garden, in 1930-1939, and was invited to sing at the Salzburg Festival in 1934-1937 by the celebrated German conductor Bruno Walter. Pinza sang once again under the baton of Toscanini in 1935, this time with the New York Philharmonic Orchestra, as the bass soloist in performances of Beethoven's Missa Solemnis. One of these performances was broadcast by CBS and preserved on transcription discs; this recording has been issued on LPs and CDs. He also sang in Toscanini's February 6, 1938, NBC Symphony Orchestra's broadcast performance of Beethoven's Ninth Symphony. These performances both took place in Carnegie Hall. In March 1942 he was arrested and detained 3 months on Ellis Island with hundreds of other Italian-Americans who were suspected of supporting the Axis. In October 1947 he performed the role of Mephistopheles in Guonod's Faust opposite his daughter, soprano Claudia Pinza Bozzolla, as Marguerite at the San Francisco Opera. Pinza retired from the Metropolitan Opera in 1948. He had sung opposite many celebrated singers at the Met during his heyday. They included, among others, such international stars as Amelita Galli-Curci, Rosa Ponselle, Elisabeth Rethberg, Giovanni Martinelli, Beniamino Gigli, Lawrence Tibbett, Giuseppe De Luca, and Salvatore Baccaloni. The Metropolitan Opera honored Pinza by dedicating all the water fountains at the new Metropolitan Opera House (Lincoln Center) to him. Before his retirement from opera, his repertoire consisted of some 95 classical roles. CANNOTANSWER

Question: Was Ezio Pinza immediately successful?
Answer: CANNOTANSWER
Ezio Pinza

Context: Pinza's Metropolitan Opera debut occurred in November 1926 in Spontini's La vestale, with famed American soprano Rosa Ponselle in the title role. In 1929, he sang Don Giovanni, a role with which he was subsequently to become closely identified. He subsequently added the Mozart roles Figaro (in 1940) and Sarastro (in 1942) to his repertoire, a vast number of Italian operatic roles of Bellini, Donizetti, and Verdi, and Mussorgsky's Boris Godunov (sung in Italian). Apart from the Met, Pinza appeared at the Royal Opera House, Covent Garden, in 1930-1939, and was invited to sing at the Salzburg Festival in 1934-1937 by the celebrated German conductor Bruno Walter. Pinza sang once again under the baton of Toscanini in 1935, this time with the New York Philharmonic Orchestra, as the bass soloist in performances of Beethoven's Missa Solemnis. One of these performances was broadcast by CBS and preserved on transcription discs; this recording has been issued on LPs and CDs. He also sang in Toscanini's February 6, 1938, NBC Symphony Orchestra's broadcast performance of Beethoven's Ninth Symphony. These performances both took place in Carnegie Hall. In March 1942 he was arrested and detained 3 months on Ellis Island with hundreds of other Italian-Americans who were suspected of supporting the Axis. In October 1947 he performed the role of Mephistopheles in Guonod's Faust opposite his daughter, soprano Claudia Pinza Bozzolla, as Marguerite at the San Francisco Opera. Pinza retired from the Metropolitan Opera in 1948. He had sung opposite many celebrated singers at the Met during his heyday. They included, among others, such international stars as Amelita Galli-Curci, Rosa Ponselle, Elisabeth Rethberg, Giovanni Martinelli, Beniamino Gigli, Lawrence Tibbett, Giuseppe De Luca, and Salvatore Baccaloni. The Metropolitan Opera honored Pinza by dedicating all the water fountains at the new Metropolitan Opera House (Lincoln Center) to him. Before his retirement from opera, his repertoire consisted of some 95 classical roles. CANNOTANSWER

Question: Has Ezio Pinza worked with anyone notable?
Answer: with famed American soprano Rosa Ponselle
Ezio Pinza

Context: Pinza's Metropolitan Opera debut occurred in November 1926 in Spontini's La vestale, with famed American soprano Rosa Ponselle in the title role. In 1929, he sang Don Giovanni, a role with which he was subsequently to become closely identified. He subsequently added the Mozart roles Figaro (in 1940) and Sarastro (in 1942) to his repertoire, a vast number of Italian operatic roles of Bellini, Donizetti, and Verdi, and Mussorgsky's Boris Godunov (sung in Italian). Apart from the Met, Pinza appeared at the Royal Opera House, Covent Garden, in 1930-1939, and was invited to sing at the Salzburg Festival in 1934-1937 by the celebrated German conductor Bruno Walter. Pinza sang once again under the baton of Toscanini in 1935, this time with the New York Philharmonic Orchestra, as the bass soloist in performances of Beethoven's Missa Solemnis. One of these performances was broadcast by CBS and preserved on transcription discs; this recording has been issued on LPs and CDs. He also sang in Toscanini's February 6, 1938, NBC Symphony Orchestra's broadcast performance of Beethoven's Ninth Symphony. These performances both took place in Carnegie Hall. In March 1942 he was arrested and detained 3 months on Ellis Island with hundreds of other Italian-Americans who were suspected of supporting the Axis. In October 1947 he performed the role of Mephistopheles in Guonod's Faust opposite his daughter, soprano Claudia Pinza Bozzolla, as Marguerite at the San Francisco Opera. Pinza retired from the Metropolitan Opera in 1948. He had sung opposite many celebrated singers at the Met during his heyday. They included, among others, such international stars as Amelita Galli-Curci, Rosa Ponselle, Elisabeth Rethberg, Giovanni Martinelli, Beniamino Gigli, Lawrence Tibbett, Giuseppe De Luca, and Salvatore Baccaloni. The Metropolitan Opera honored Pinza by dedicating all the water fountains at the new Metropolitan Opera House (Lincoln Center) to him. Before his retirement from opera, his repertoire consisted of some 95 classical roles. CANNOTANSWER

Question: Besides La Vestale, what other operas has Ezio Pinza been a success in?
Answer: Figaro (in 1940) and Sarastro (in 1942)
Ezio Pinza

Context: Pinza's Metropolitan Opera debut occurred in November 1926 in Spontini's La vestale, with famed American soprano Rosa Ponselle in the title role. In 1929, he sang Don Giovanni, a role with which he was subsequently to become closely identified. He subsequently added the Mozart roles Figaro (in 1940) and Sarastro (in 1942) to his repertoire, a vast number of Italian operatic roles of Bellini, Donizetti, and Verdi, and Mussorgsky's Boris Godunov (sung in Italian). Apart from the Met, Pinza appeared at the Royal Opera House, Covent Garden, in 1930-1939, and was invited to sing at the Salzburg Festival in 1934-1937 by the celebrated German conductor Bruno Walter. Pinza sang once again under the baton of Toscanini in 1935, this time with the New York Philharmonic Orchestra, as the bass soloist in performances of Beethoven's Missa Solemnis. One of these performances was broadcast by CBS and preserved on transcription discs; this recording has been issued on LPs and CDs. He also sang in Toscanini's February 6, 1938, NBC Symphony Orchestra's broadcast performance of Beethoven's Ninth Symphony. These performances both took place in Carnegie Hall. In March 1942 he was arrested and detained 3 months on Ellis Island with hundreds of other Italian-Americans who were suspected of supporting the Axis. In October 1947 he performed the role of Mephistopheles in Guonod's Faust opposite his daughter, soprano Claudia Pinza Bozzolla, as Marguerite at the San Francisco Opera. Pinza retired from the Metropolitan Opera in 1948. He had sung opposite many celebrated singers at the Met during his heyday. They included, among others, such international stars as Amelita Galli-Curci, Rosa Ponselle, Elisabeth Rethberg, Giovanni Martinelli, Beniamino Gigli, Lawrence Tibbett, Giuseppe De Luca, and Salvatore Baccaloni. The Metropolitan Opera honored Pinza by dedicating all the water fountains at the new Metropolitan Opera House (Lincoln Center) to him. Before his retirement from opera, his repertoire consisted of some 95 classical roles. CANNOTANSWER

Question: In addition to Ezio Pinza's role in La Vestale and his performance of Don Giovanni, are there any other interesting aspects about this article?
Answer: Pinza retired from the Metropolitan Opera in 1948.
Ezio Pinza

Context: Pinza's Metropolitan Opera debut occurred in November 1926 in Spontini's La vestale, with famed American soprano Rosa Ponselle in the title role. In 1929, he sang Don Giovanni, a role with which he was subsequently to become closely identified. He subsequently added the Mozart roles Figaro (in 1940) and Sarastro (in 1942) to his repertoire, a vast number of Italian operatic roles of Bellini, Donizetti, and Verdi, and Mussorgsky's Boris Godunov (sung in Italian). Apart from the Met, Pinza appeared at the Royal Opera House, Covent Garden, in 1930-1939, and was invited to sing at the Salzburg Festival in 1934-1937 by the celebrated German conductor Bruno Walter. Pinza sang once again under the baton of Toscanini in 1935, this time with the New York Philharmonic Orchestra, as the bass soloist in performances of Beethoven's Missa Solemnis. One of these performances was broadcast by CBS and preserved on transcription discs; this recording has been issued on LPs and CDs. He also sang in Toscanini's February 6, 1938, NBC Symphony Orchestra's broadcast performance of Beethoven's Ninth Symphony. These performances both took place in Carnegie Hall. In March 1942 he was arrested and detained 3 months on Ellis Island with hundreds of other Italian-Americans who were suspected of supporting the Axis. In October 1947 he performed the role of Mephistopheles in Guonod's Faust opposite his daughter, soprano Claudia Pinza Bozzolla, as Marguerite at the San Francisco Opera. Pinza retired from the Metropolitan Opera in 1948. He had sung opposite many celebrated singers at the Met during his heyday. They included, among others, such international stars as Amelita Galli-Curci, Rosa Ponselle, Elisabeth Rethberg, Giovanni Martinelli, Beniamino Gigli, Lawrence Tibbett, Giuseppe De Luca, and Salvatore Baccaloni. The Metropolitan Opera honored Pinza by dedicating all the water fountains at the new Metropolitan Opera House (Lincoln Center) to him. Before his retirement from opera, his repertoire consisted of some 95 classical roles. CANNOTANSWER

Question: What operas did Ezio Pinza perform at the Royal Opera House?
Answer: CANNOTANSWER
Ezio Pinza

Context: Pinza's Metropolitan Opera debut occurred in November 1926 in Spontini's La vestale, with famed American soprano Rosa Ponselle in the title role. In 1929, he sang Don Giovanni, a role with which he was subsequently to become closely identified. He subsequently added the Mozart roles Figaro (in 1940) and Sarastro (in 1942) to his repertoire, a vast number of Italian operatic roles of Bellini, Donizetti, and Verdi, and Mussorgsky's Boris Godunov (sung in Italian). Apart from the Met, Pinza appeared at the Royal Opera House, Covent Garden, in 1930-1939, and was invited to sing at the Salzburg Festival in 1934-1937 by the celebrated German conductor Bruno Walter. Pinza sang once again under the baton of Toscanini in 1935, this time with the New York Philharmonic Orchestra, as the bass soloist in performances of Beethoven's Missa Solemnis. One of these performances was broadcast by CBS and preserved on transcription discs; this recording has been issued on LPs and CDs. He also sang in Toscanini's February 6, 1938, NBC Symphony Orchestra's broadcast performance of Beethoven's Ninth Symphony. These performances both took place in Carnegie Hall. In March 1942 he was arrested and detained 3 months on Ellis Island with hundreds of other Italian-Americans who were suspected of supporting the Axis. In October 1947 he performed the role of Mephistopheles in Guonod's Faust opposite his daughter, soprano Claudia Pinza Bozzolla, as Marguerite at the San Francisco Opera. Pinza retired from the Metropolitan Opera in 1948. He had sung opposite many celebrated singers at the Met during his heyday. They included, among others, such international stars as Amelita Galli-Curci, Rosa Ponselle, Elisabeth Rethberg, Giovanni Martinelli, Beniamino Gigli, Lawrence Tibbett, Giuseppe De Luca, and Salvatore Baccaloni. The Metropolitan Opera honored Pinza by dedicating all the water fountains at the new Metropolitan Opera House (Lincoln Center) to him. Before his retirement from opera, his repertoire consisted of some 95 classical roles. CANNOTANSWER

Question: When did Ezio Pinza stop performing?
Answer: Pinza retired from the Metropolitan Opera in 1948.
Ezio Pinza

Context: Pinza's Metropolitan Opera debut occurred in November 1926 in Spontini's La vestale, with famed American soprano Rosa Ponselle in the title role. In 1929, he sang Don Giovanni, a role with which he was subsequently to become closely identified. He subsequently added the Mozart roles Figaro (in 1940) and Sarastro (in 1942) to his repertoire, a vast number of Italian operatic roles of Bellini, Donizetti, and Verdi, and Mussorgsky's Boris Godunov (sung in Italian). Apart from the Met, Pinza appeared at the Royal Opera House, Covent Garden, in 1930-1939, and was invited to sing at the Salzburg Festival in 1934-1937 by the celebrated German conductor Bruno Walter. Pinza sang once again under the baton of Toscanini in 1935, this time with the New York Philharmonic Orchestra, as the bass soloist in performances of Beethoven's Missa Solemnis. One of these performances was broadcast by CBS and preserved on transcription discs; this recording has been issued on LPs and CDs. He also sang in Toscanini's February 6, 1938, NBC Symphony Orchestra's broadcast performance of Beethoven's Ninth Symphony. These performances both took place in Carnegie Hall. In March 1942 he was arrested and detained 3 months on Ellis Island with hundreds of other Italian-Americans who were suspected of supporting the Axis. In October 1947 he performed the role of Mephistopheles in Guonod's Faust opposite his daughter, soprano Claudia Pinza Bozzolla, as Marguerite at the San Francisco Opera. Pinza retired from the Metropolitan Opera in 1948. He had sung opposite many celebrated singers at the Met during his heyday. They included, among others, such international stars as Amelita Galli-Curci, Rosa Ponselle, Elisabeth Rethberg, Giovanni Martinelli, Beniamino Gigli, Lawrence Tibbett, Giuseppe De Luca, and Salvatore Baccaloni. The Metropolitan Opera honored Pinza by dedicating all the water fountains at the new Metropolitan Opera House (Lincoln Center) to him. Before his retirement from opera, his repertoire consisted of some 95 classical roles. CANNOTANSWER

Question: What did Ezio Pinza do after retirement?
Answer: The Metropolitan Opera honored Pinza by dedicating all the water fountains at the new Metropolitan Opera House (Lincoln Center) to him.