nc33/multispan_quoref huggingface dataset:
Chinese state-controlled television broadcast graphic footage of cars being smashed and people being beaten. Officials reiterated the party line: XUAR chairman Nur Bekri delivered a lengthy address on the situation and on the Shaoguan incident, and claimed that the government of both Guangdong and Xinjiang had dealt with the deaths of the workers properly and with respect. Bekri further condemned the riots as "premeditated and planned"; Eligen Imibakhi, chairman of the Standing Committee of the Xinjiang Regional People's Congress, blamed 5 July riots on "extremism, separatism and terrorism".
The Chinese media covered the rioting extensively. Hours after troops stopped the rioting, the state invited foreign journalists on an official fact-finding trip to Ürümqi; journalists from more than 100 media organisations were all corralled into the downtown Hoi Tak Hotel, sharing 30 internet connections. Journalists were given unprecedented access to troublespots and hospitals. The Financial Times referred to this handling as an improvement, compared to the "public-relations disaster" of the Tibetan unrest in 2008.In an effort to soothe tensions immediately after the riots, state media began a mass publicity campaign throughout Xinjiang extolling ethnic harmony. Local television programmes united Uyghur and Han singers in a chorus of "We are all part of the same family"; Uygurs who "acted heroically" during the riots were profiled; loud-hailer trucks blasted slogans in the streets. A common slogan warned against the "three forces" of terrorism, separatism and extremism.President Hu Jintao curtailed his attendance of the G8 summit in Italy, convened an emergency meeting of the Politburo, and dispatched Standing Committee member Zhou Yongkang to Xinjiang to "guid[e] stability-preservation work in Xinjiang". South China Morning Post reported a government source saying Beijing would re-evaluate the impact on arrangements for the country's forthcoming 60th anniversary celebrations in October. Guangdong's CPC Provincial Committee Secretary, Wang Yang, noted that the government policies towards ethnic minorities "definitely need adjustments", otherwise "there will be some problems." A security planner said the authorities planned to fly in more troops from other stations to raise the number of armed police presence to 130,000 before the 60th anniversary celebrations in October.After the riots, the Chinese government exercised diplomatic pressure on nations that Rebiya Kadeer was scheduled to visit. In late July, India declined Kadeer a visa "on the advice of Beijing", and Beijing summoned the Japanese ambassador in protest of a trip Kadeer made to Japan. When Kadeer visited Australia in August to promote a film about her life, China officially complained to the Australian government and asked for the film to be withdrawn.

Question: What is the first name of the person who took a trip to Japan?
Answer: Rebiya
Chinese state-controlled television broadcast graphic footage of cars being smashed and people being beaten. Officials reiterated the party line: XUAR chairman Nur Bekri delivered a lengthy address on the situation and on the Shaoguan incident, and claimed that the government of both Guangdong and Xinjiang had dealt with the deaths of the workers properly and with respect. Bekri further condemned the riots as "premeditated and planned"; Eligen Imibakhi, chairman of the Standing Committee of the Xinjiang Regional People's Congress, blamed 5 July riots on "extremism, separatism and terrorism".
The Chinese media covered the rioting extensively. Hours after troops stopped the rioting, the state invited foreign journalists on an official fact-finding trip to Ürümqi; journalists from more than 100 media organisations were all corralled into the downtown Hoi Tak Hotel, sharing 30 internet connections. Journalists were given unprecedented access to troublespots and hospitals. The Financial Times referred to this handling as an improvement, compared to the "public-relations disaster" of the Tibetan unrest in 2008.In an effort to soothe tensions immediately after the riots, state media began a mass publicity campaign throughout Xinjiang extolling ethnic harmony. Local television programmes united Uyghur and Han singers in a chorus of "We are all part of the same family"; Uygurs who "acted heroically" during the riots were profiled; loud-hailer trucks blasted slogans in the streets. A common slogan warned against the "three forces" of terrorism, separatism and extremism.President Hu Jintao curtailed his attendance of the G8 summit in Italy, convened an emergency meeting of the Politburo, and dispatched Standing Committee member Zhou Yongkang to Xinjiang to "guid[e] stability-preservation work in Xinjiang". South China Morning Post reported a government source saying Beijing would re-evaluate the impact on arrangements for the country's forthcoming 60th anniversary celebrations in October. Guangdong's CPC Provincial Committee Secretary, Wang Yang, noted that the government policies towards ethnic minorities "definitely need adjustments", otherwise "there will be some problems." A security planner said the authorities planned to fly in more troops from other stations to raise the number of armed police presence to 130,000 before the 60th anniversary celebrations in October.After the riots, the Chinese government exercised diplomatic pressure on nations that Rebiya Kadeer was scheduled to visit. In late July, India declined Kadeer a visa "on the advice of Beijing", and Beijing summoned the Japanese ambassador in protest of a trip Kadeer made to Japan. When Kadeer visited Australia in August to promote a film about her life, China officially complained to the Australian government and asked for the film to be withdrawn.

Question: What is the first name of the person who visited Australia?
Answer: Rebiya
Chinese state-controlled television broadcast graphic footage of cars being smashed and people being beaten. Officials reiterated the party line: XUAR chairman Nur Bekri delivered a lengthy address on the situation and on the Shaoguan incident, and claimed that the government of both Guangdong and Xinjiang had dealt with the deaths of the workers properly and with respect. Bekri further condemned the riots as "premeditated and planned"; Eligen Imibakhi, chairman of the Standing Committee of the Xinjiang Regional People's Congress, blamed 5 July riots on "extremism, separatism and terrorism".
The Chinese media covered the rioting extensively. Hours after troops stopped the rioting, the state invited foreign journalists on an official fact-finding trip to Ürümqi; journalists from more than 100 media organisations were all corralled into the downtown Hoi Tak Hotel, sharing 30 internet connections. Journalists were given unprecedented access to troublespots and hospitals. The Financial Times referred to this handling as an improvement, compared to the "public-relations disaster" of the Tibetan unrest in 2008.In an effort to soothe tensions immediately after the riots, state media began a mass publicity campaign throughout Xinjiang extolling ethnic harmony. Local television programmes united Uyghur and Han singers in a chorus of "We are all part of the same family"; Uygurs who "acted heroically" during the riots were profiled; loud-hailer trucks blasted slogans in the streets. A common slogan warned against the "three forces" of terrorism, separatism and extremism.President Hu Jintao curtailed his attendance of the G8 summit in Italy, convened an emergency meeting of the Politburo, and dispatched Standing Committee member Zhou Yongkang to Xinjiang to "guid[e] stability-preservation work in Xinjiang". South China Morning Post reported a government source saying Beijing would re-evaluate the impact on arrangements for the country's forthcoming 60th anniversary celebrations in October. Guangdong's CPC Provincial Committee Secretary, Wang Yang, noted that the government policies towards ethnic minorities "definitely need adjustments", otherwise "there will be some problems." A security planner said the authorities planned to fly in more troops from other stations to raise the number of armed police presence to 130,000 before the 60th anniversary celebrations in October.After the riots, the Chinese government exercised diplomatic pressure on nations that Rebiya Kadeer was scheduled to visit. In late July, India declined Kadeer a visa "on the advice of Beijing", and Beijing summoned the Japanese ambassador in protest of a trip Kadeer made to Japan. When Kadeer visited Australia in August to promote a film about her life, China officially complained to the Australian government and asked for the film to be withdrawn.

Question: What is the first name of the person who had a film made about her life?
Answer: Rebiya
Turkey, which has a vocal Uyghur minority and is a majority-Turkic nation, officially expressed "deep sadness", and urged the Chinese authorities to bring the perpetrators to justice. Its Prime Minister, Recep Tayyip Erdoğan, said the incident was "like genocide", while Trade and Industry Minister Nihat Ergün called for a boycott on Chinese goods. The violence against Uyghurs also caused lots of Turkish people to gather for protests against PRC, mostly targeting Chinese embassies and consulates in Turkey's various cities. The Turkish stance sparked a significant outcry from Chinese media. Rebiya Kadeer claimed that Turkey is hampered from interfering with Uyghurs because it recognizes that its own Kurdish issue may get interfered with by China in retaliation. An appeal for Chinese products to be boycotted by Nihat Ergun failed.Arab countries politically supported China in the OIC with especially Saudi Arabia and Egypt helping China squash any potential anti-Chinese motion by the Organisation of Islamic Cooperation on the Uyghurs, Egypt viewed its own internal sectarian problems like China's and Sudan was also concerned about external interference in its internal problems as well, while Indonesia had to deal with its own internal Islamists and emphasized that there was no religious conflict but instead ethnic based disturbances in Xinjiang to calm the situation down. Pakistan, Saudi Arabia, and Egypt helped China kill off a statement on the Xinjiang situation in the OIC. There has been no public reaction by the Arab League, Saudi Arabia and Iran on the situation and China has built stronger relations with Iran and Saudi Arabia due to their influence in the Islamic world.Afghanistan, Cambodia, and Vietnam said they believed the Chinese government was "taking appropriate measures", their statements backed "the territorial integrity and sovereignty of China". Micronesian Vice President Alik Alik condemned the riot as a "terrorist act".

Question: Whose Prime Minister said the incident was like genocide?
Answer: Turkey
Turkey, which has a vocal Uyghur minority and is a majority-Turkic nation, officially expressed "deep sadness", and urged the Chinese authorities to bring the perpetrators to justice. Its Prime Minister, Recep Tayyip Erdoğan, said the incident was "like genocide", while Trade and Industry Minister Nihat Ergün called for a boycott on Chinese goods. The violence against Uyghurs also caused lots of Turkish people to gather for protests against PRC, mostly targeting Chinese embassies and consulates in Turkey's various cities. The Turkish stance sparked a significant outcry from Chinese media. Rebiya Kadeer claimed that Turkey is hampered from interfering with Uyghurs because it recognizes that its own Kurdish issue may get interfered with by China in retaliation. An appeal for Chinese products to be boycotted by Nihat Ergun failed.Arab countries politically supported China in the OIC with especially Saudi Arabia and Egypt helping China squash any potential anti-Chinese motion by the Organisation of Islamic Cooperation on the Uyghurs, Egypt viewed its own internal sectarian problems like China's and Sudan was also concerned about external interference in its internal problems as well, while Indonesia had to deal with its own internal Islamists and emphasized that there was no religious conflict but instead ethnic based disturbances in Xinjiang to calm the situation down. Pakistan, Saudi Arabia, and Egypt helped China kill off a statement on the Xinjiang situation in the OIC. There has been no public reaction by the Arab League, Saudi Arabia and Iran on the situation and China has built stronger relations with Iran and Saudi Arabia due to their influence in the Islamic world.Afghanistan, Cambodia, and Vietnam said they believed the Chinese government was "taking appropriate measures", their statements backed "the territorial integrity and sovereignty of China". Micronesian Vice President Alik Alik condemned the riot as a "terrorist act".

Question: Which country caused the violence?
Answer: China
After several years having focused entirely on his career with the Regional Information Service, Jaojoby was approached in 1987 by Frenchman Pierre Henri Donat to contribute several recordings to Madagascar's first salegy compilation album, Les Grands Maîtres du Salegy ("Grand Masters of Salegy"). The runaway success of one of the tracks he composed and performed, "Samy Mandeha Samy Mitady", elevated salegy from a regional genre to one of nationwide popularity, leading a newspaper to declare him the "King of Salegy". High demand for live performances led the singer to return to Antananarivo in 1988 to form a band named "Jaojoby" that included former bandmates from Los Matadores and The Players. Jaojoby begin touring regularly at home and abroad, performing his first international concerts in Paris in 1989. In the meantime, he worked as a press attaché for the Ministry of Transport, Meteorology and Tourism from 1990 until 1993, at which point he left his job to become a full-time musician.The 1992 release of Jaojoby's first full-length album, titled Salegy!, was facilitated by fRoots magazine editor Ian Anderson, who had worked with Jaojoby to record several of his tracks for a radio broadcast two years previously. Jaojoby's second album, Velono, was the first salegy album to be recorded in France, as well as the first of his albums to be produced in a professional-quality recording studio. Following the 1994 release of Velono, Jaojoby became a regular on the international music festival circuit and has performed at such events as WOMAD in Reading, the Festival du Bout du Monde in Brittany, WOMEX in Spain, the Festival des Musiques Métisses in Angoulême, the MASA Festival in Abidjan, and similar events in Germany, the Netherlands, and Portugal. Jaojoby's excitement over his rise to international celebrity was attenuated by the 1995 death of the band's original drummer, Jean-Claude Djaonarana, who had first performed with Jaojoby as a member of Los Matadores.

Question: What is the last name of the person who formed the band named Jaojoby?
Answer: Jaojoby
After several years having focused entirely on his career with the Regional Information Service, Jaojoby was approached in 1987 by Frenchman Pierre Henri Donat to contribute several recordings to Madagascar's first salegy compilation album, Les Grands Maîtres du Salegy ("Grand Masters of Salegy"). The runaway success of one of the tracks he composed and performed, "Samy Mandeha Samy Mitady", elevated salegy from a regional genre to one of nationwide popularity, leading a newspaper to declare him the "King of Salegy". High demand for live performances led the singer to return to Antananarivo in 1988 to form a band named "Jaojoby" that included former bandmates from Los Matadores and The Players. Jaojoby begin touring regularly at home and abroad, performing his first international concerts in Paris in 1989. In the meantime, he worked as a press attaché for the Ministry of Transport, Meteorology and Tourism from 1990 until 1993, at which point he left his job to become a full-time musician.The 1992 release of Jaojoby's first full-length album, titled Salegy!, was facilitated by fRoots magazine editor Ian Anderson, who had worked with Jaojoby to record several of his tracks for a radio broadcast two years previously. Jaojoby's second album, Velono, was the first salegy album to be recorded in France, as well as the first of his albums to be produced in a professional-quality recording studio. Following the 1994 release of Velono, Jaojoby became a regular on the international music festival circuit and has performed at such events as WOMAD in Reading, the Festival du Bout du Monde in Brittany, WOMEX in Spain, the Festival des Musiques Métisses in Angoulême, the MASA Festival in Abidjan, and similar events in Germany, the Netherlands, and Portugal. Jaojoby's excitement over his rise to international celebrity was attenuated by the 1995 death of the band's original drummer, Jean-Claude Djaonarana, who had first performed with Jaojoby as a member of Los Matadores.

Question: Who had a high demand for live performances?
Answer: Jaojoby
After several years having focused entirely on his career with the Regional Information Service, Jaojoby was approached in 1987 by Frenchman Pierre Henri Donat to contribute several recordings to Madagascar's first salegy compilation album, Les Grands Maîtres du Salegy ("Grand Masters of Salegy"). The runaway success of one of the tracks he composed and performed, "Samy Mandeha Samy Mitady", elevated salegy from a regional genre to one of nationwide popularity, leading a newspaper to declare him the "King of Salegy". High demand for live performances led the singer to return to Antananarivo in 1988 to form a band named "Jaojoby" that included former bandmates from Los Matadores and The Players. Jaojoby begin touring regularly at home and abroad, performing his first international concerts in Paris in 1989. In the meantime, he worked as a press attaché for the Ministry of Transport, Meteorology and Tourism from 1990 until 1993, at which point he left his job to become a full-time musician.The 1992 release of Jaojoby's first full-length album, titled Salegy!, was facilitated by fRoots magazine editor Ian Anderson, who had worked with Jaojoby to record several of his tracks for a radio broadcast two years previously. Jaojoby's second album, Velono, was the first salegy album to be recorded in France, as well as the first of his albums to be produced in a professional-quality recording studio. Following the 1994 release of Velono, Jaojoby became a regular on the international music festival circuit and has performed at such events as WOMAD in Reading, the Festival du Bout du Monde in Brittany, WOMEX in Spain, the Festival des Musiques Métisses in Angoulême, the MASA Festival in Abidjan, and similar events in Germany, the Netherlands, and Portugal. Jaojoby's excitement over his rise to international celebrity was attenuated by the 1995 death of the band's original drummer, Jean-Claude Djaonarana, who had first performed with Jaojoby as a member of Los Matadores.

Question: Where was the first album produced by Jaojoby in a professional studio recorded?
Answer: France
Jaojoby's success and popularity attained new heights in 1998 with the release of E! Tiako. He was named "Artist of the Year" in Madagascar for two consecutive years (1998–1999), and the single "Malemilemy" received regular airplay across the island more than a year after the album was released. In July 1999, Jaojoby was named Goodwill Ambassador to the United Nations Population Fund and supported the United Nations' activities in Madagascar related to raising awareness of sexually transmitted diseases, unintended pregnancy, and other concerns relevant to the Malagasy youth population. The lyrics of his songs commonly address social issues, typified by a track on E! Tiako that encourages the use of condoms to avoid contracting HIV/AIDS.Aza Arianao was recorded over five days in the summer of 2000 and released the following year. In the wake of its success, Jaojoby performed at a political rally to an audience of 50,000 partisans of candidate Marc Ravalomanana less than a month before the divisive 2001 presidential elections that nearly resulted in the secession of the island's coastal provinces. Jaojoby's 2004 follow-up album Malagasy, which was recorded in semi-live conditions on the island of Réunion in a small venue before an audience of the artist's friends, featured lyrics that sought to promote optimism and national reconciliation; the artist announced that he would not involve himself in national politics in the future. The same year he toured extensively in France, the United States and Canada.The March 2008 release of Donnant-Donnant celebrated Jaojoby's roots as a cabaret performer of soul, funk, and other Western popular genres. The track listing included previously unreleased pop songs written by the artist in the 1970s and 1980s in French, Malagasy, Creole, and English. Later that year, in September, he became the second Malagasy musical act (after supergroup Mahaleo, in 2007) to perform at the prestigious and historic Olympia music hall in Paris. Seating was specially removed at his request to provide space for dancing. The live album Live au Bato Fou: Jaojoby was released in 2010 and features a diverse sampling of Jaojoby's greatest hits. A selection of new salegy tracks written and performed by Jaojoby was released in 2012 under the album title Mila Anao, which was ranked by NPR as one of the ten best international albums of the year.

Question: What is the name of the successful release in whose wake Jaojoby performed at a political rally to an audience of 50,000 partisans of candidate Marc Ravalomanana?
Answer: Aza Arianao
Jaojoby's success and popularity attained new heights in 1998 with the release of E! Tiako. He was named "Artist of the Year" in Madagascar for two consecutive years (1998–1999), and the single "Malemilemy" received regular airplay across the island more than a year after the album was released. In July 1999, Jaojoby was named Goodwill Ambassador to the United Nations Population Fund and supported the United Nations' activities in Madagascar related to raising awareness of sexually transmitted diseases, unintended pregnancy, and other concerns relevant to the Malagasy youth population. The lyrics of his songs commonly address social issues, typified by a track on E! Tiako that encourages the use of condoms to avoid contracting HIV/AIDS.Aza Arianao was recorded over five days in the summer of 2000 and released the following year. In the wake of its success, Jaojoby performed at a political rally to an audience of 50,000 partisans of candidate Marc Ravalomanana less than a month before the divisive 2001 presidential elections that nearly resulted in the secession of the island's coastal provinces. Jaojoby's 2004 follow-up album Malagasy, which was recorded in semi-live conditions on the island of Réunion in a small venue before an audience of the artist's friends, featured lyrics that sought to promote optimism and national reconciliation; the artist announced that he would not involve himself in national politics in the future. The same year he toured extensively in France, the United States and Canada.The March 2008 release of Donnant-Donnant celebrated Jaojoby's roots as a cabaret performer of soul, funk, and other Western popular genres. The track listing included previously unreleased pop songs written by the artist in the 1970s and 1980s in French, Malagasy, Creole, and English. Later that year, in September, he became the second Malagasy musical act (after supergroup Mahaleo, in 2007) to perform at the prestigious and historic Olympia music hall in Paris. Seating was specially removed at his request to provide space for dancing. The live album Live au Bato Fou: Jaojoby was released in 2010 and features a diverse sampling of Jaojoby's greatest hits. A selection of new salegy tracks written and performed by Jaojoby was released in 2012 under the album title Mila Anao, which was ranked by NPR as one of the ten best international albums of the year.

Question: What is the name of the release whose track listing included previously unreleased pop songs written by the Jaojoby in the 1970s and 1980s in French, Malagasy, Creole, and English?
Answer: Donnant-Donnant
The Oceanides (Finnish title: Aallottaret, translated to English as Nymphs of the Waves or Spirits of the Waves; original working title Rondeau der Wellen; in English, Rondo of the Waves), Op. 73, is a single-movement tone poem for orchestra written in 1913–14 by the Finnish composer Jean Sibelius. The piece, which refers to the nymphs in Greek mythology who inhabited the Mediterranean Sea, premiered on 4 June 1914 at the Norfolk Music Festival in Connecticut with Sibelius conducting. Praised upon its premiere as "the finest evocation of the sea ... ever ... produced in music", the tone poem, in D major, consists of two subjects, said to represent the playful activity of the nymphs and the majesty of the ocean, respectively. Sibelius gradually develops this material over three informal stages: first, a placid ocean; second, a gathering storm; and third, a thunderous wave-crash climax. As the tempest subsides, a final chord sounds, symbolizing the mighty power and limitless expanse of the sea.
Stylistically, many commentators have described The Oceanides as either an outright example of Impressionism or somehow derivative of that art movement. Others have countered that Sibelius's active development of the two subjects, his sparing use of scales favored by Impressionists, and his prioritization of action and structure over ephemeral, atmospheric background distinguish the piece from quintessential examples, such as Debussy's La mer.
Aside from the definitive D major tone poem, two intermediate versions of The Oceanides survive: the first, a three-movement orchestral suite, in E♭ major, that dates to 1913 (movement No. 1 lost); and the second, the initial single-movement "Yale" version of the tone poem, in D♭ major, which Sibelius dispatched to America in advance of his journey but revised prior to the music festival. The Oceanides thus stands alongside En saga, the Lemminkäinen Suite, the Violin Concerto, and the Fifth Symphony as one of Sibelius's most overhauled works. The suite and Yale version, never performed in the composer's lifetime, received their world premieres by Osmo Vänskä and the Lahti Symphony Orchestra on 10 September and 24 October 2002, respectively. A typical performance of the final version lasts about 10 minutes, some 3 minutes longer than its Yale predecessor.

Question: What was the date of the premier of the suite version of The Oceanides?
Answer: 10 September
The Oceanides (Finnish title: Aallottaret, translated to English as Nymphs of the Waves or Spirits of the Waves; original working title Rondeau der Wellen; in English, Rondo of the Waves), Op. 73, is a single-movement tone poem for orchestra written in 1913–14 by the Finnish composer Jean Sibelius. The piece, which refers to the nymphs in Greek mythology who inhabited the Mediterranean Sea, premiered on 4 June 1914 at the Norfolk Music Festival in Connecticut with Sibelius conducting. Praised upon its premiere as "the finest evocation of the sea ... ever ... produced in music", the tone poem, in D major, consists of two subjects, said to represent the playful activity of the nymphs and the majesty of the ocean, respectively. Sibelius gradually develops this material over three informal stages: first, a placid ocean; second, a gathering storm; and third, a thunderous wave-crash climax. As the tempest subsides, a final chord sounds, symbolizing the mighty power and limitless expanse of the sea.
Stylistically, many commentators have described The Oceanides as either an outright example of Impressionism or somehow derivative of that art movement. Others have countered that Sibelius's active development of the two subjects, his sparing use of scales favored by Impressionists, and his prioritization of action and structure over ephemeral, atmospheric background distinguish the piece from quintessential examples, such as Debussy's La mer.
Aside from the definitive D major tone poem, two intermediate versions of The Oceanides survive: the first, a three-movement orchestral suite, in E♭ major, that dates to 1913 (movement No. 1 lost); and the second, the initial single-movement "Yale" version of the tone poem, in D♭ major, which Sibelius dispatched to America in advance of his journey but revised prior to the music festival. The Oceanides thus stands alongside En saga, the Lemminkäinen Suite, the Violin Concerto, and the Fifth Symphony as one of Sibelius's most overhauled works. The suite and Yale version, never performed in the composer's lifetime, received their world premieres by Osmo Vänskä and the Lahti Symphony Orchestra on 10 September and 24 October 2002, respectively. A typical performance of the final version lasts about 10 minutes, some 3 minutes longer than its Yale predecessor.

Question: What was the date of the premier of the Yale version of the Oceanides?
Answer: 24 October
With the outbreak of World War I on 28 July 1914, The Oceanides languished. Wartime politics being what they were, Sibelius's music was seldom played outside the Nordic countries and the United States: in Germany, there was little demand for the music of an "enemy national", while in Russia, Finns were viewed as being "less than loyal subjects of the Tsar". In any case, many of Sibelius's works had been printed by German publishing houses, a detail that harmed Sibelius's reputation not only in Russia, but also Britain and the United States. According to Tawaststjerna, the war plunged Sibelius into a state of melancholy and creative struggle (the Fifth and Sixth symphonies were in the process of simultaneous gestation at this time). His response was to retreat into near solitude: he abstained from attending and giving concerts and neglected his circle of friends, and he imagined himself "forgotten and ignored, a lonely beacon of light in a deepening winter darkness".Sibelius was not easily stirred from his exile; friend and fellow composer Wilhelm Stenhammar, then Artistic Director and chief conductor of the Gothenburg Symphony Orchestra, wrote to Sibelius repeatedly to persuade him to conduct a concert of his works in Gothenburg. Believing himself duty-bound to premiere a "major work" in Sweden, such as a symphony, Sibelius—to Stenhammar's chagrin—delayed each scheduled trip. He withdrew from planned concerts for March 1914, writing to Stenhammar, "My conscience forces me to this. But when I have some new works ready next year, as I hope, it would give me great joy to perform them in Gothenburg". New arrangements were made for February 1915, but these, too, Sibelius canceled in December 1914. In the end, the indefatigable Stenhammar prevailed and new concerts were set for March 1915 ("I see yet again your great sympathy for my music. I shall come".).Stenhammar's efforts were rewarded with the European premiere of The Oceanides. For Sibelius, it was an opportunity to once again be an "artist on tour", feeding off the energy and "rapturous ovations" of an audience (it had been nine months since the Norfolk concerts, which now seemed a distant memory). The first concert, on March 22, featured the Second Symphony, Scènes historiques II, and two movements from Swanwhite before concluding with The Oceanides. According to Sibelius's diary, the performance was a "great success", with Stenhammar "captivated" particularly by the final number. The 24 March program retained The Oceanides, but paired it with Scènes historiques I, the Nocturne from the King Christian II Suite, a movement from Rakastava, Lemminkäinen's Return, and the Fourth Symphony. Sibelius was very pleased with the orchestra's handling of The Oceanides, calling its performance "wonderful". He goes on to note in his diary that, "After the final number [The Oceanides] there was a deafening torrent of applause, stamps, cries of bravo, a standing ovation and fanfares from the orchestra".

Question: What year did the composer in a creative struggle perform a concert?
Answer: 1915
With the outbreak of World War I on 28 July 1914, The Oceanides languished. Wartime politics being what they were, Sibelius's music was seldom played outside the Nordic countries and the United States: in Germany, there was little demand for the music of an "enemy national", while in Russia, Finns were viewed as being "less than loyal subjects of the Tsar". In any case, many of Sibelius's works had been printed by German publishing houses, a detail that harmed Sibelius's reputation not only in Russia, but also Britain and the United States. According to Tawaststjerna, the war plunged Sibelius into a state of melancholy and creative struggle (the Fifth and Sixth symphonies were in the process of simultaneous gestation at this time). His response was to retreat into near solitude: he abstained from attending and giving concerts and neglected his circle of friends, and he imagined himself "forgotten and ignored, a lonely beacon of light in a deepening winter darkness".Sibelius was not easily stirred from his exile; friend and fellow composer Wilhelm Stenhammar, then Artistic Director and chief conductor of the Gothenburg Symphony Orchestra, wrote to Sibelius repeatedly to persuade him to conduct a concert of his works in Gothenburg. Believing himself duty-bound to premiere a "major work" in Sweden, such as a symphony, Sibelius—to Stenhammar's chagrin—delayed each scheduled trip. He withdrew from planned concerts for March 1914, writing to Stenhammar, "My conscience forces me to this. But when I have some new works ready next year, as I hope, it would give me great joy to perform them in Gothenburg". New arrangements were made for February 1915, but these, too, Sibelius canceled in December 1914. In the end, the indefatigable Stenhammar prevailed and new concerts were set for March 1915 ("I see yet again your great sympathy for my music. I shall come".).Stenhammar's efforts were rewarded with the European premiere of The Oceanides. For Sibelius, it was an opportunity to once again be an "artist on tour", feeding off the energy and "rapturous ovations" of an audience (it had been nine months since the Norfolk concerts, which now seemed a distant memory). The first concert, on March 22, featured the Second Symphony, Scènes historiques II, and two movements from Swanwhite before concluding with The Oceanides. According to Sibelius's diary, the performance was a "great success", with Stenhammar "captivated" particularly by the final number. The 24 March program retained The Oceanides, but paired it with Scènes historiques I, the Nocturne from the King Christian II Suite, a movement from Rakastava, Lemminkäinen's Return, and the Fourth Symphony. Sibelius was very pleased with the orchestra's handling of The Oceanides, calling its performance "wonderful". He goes on to note in his diary that, "After the final number [The Oceanides] there was a deafening torrent of applause, stamps, cries of bravo, a standing ovation and fanfares from the orchestra".

Question: What is the last name of the man that the conductor of the Gothenburg Symphony Orchestra asked to come out and perform a concert?
Answer: Sibelius
With the outbreak of World War I on 28 July 1914, The Oceanides languished. Wartime politics being what they were, Sibelius's music was seldom played outside the Nordic countries and the United States: in Germany, there was little demand for the music of an "enemy national", while in Russia, Finns were viewed as being "less than loyal subjects of the Tsar". In any case, many of Sibelius's works had been printed by German publishing houses, a detail that harmed Sibelius's reputation not only in Russia, but also Britain and the United States. According to Tawaststjerna, the war plunged Sibelius into a state of melancholy and creative struggle (the Fifth and Sixth symphonies were in the process of simultaneous gestation at this time). His response was to retreat into near solitude: he abstained from attending and giving concerts and neglected his circle of friends, and he imagined himself "forgotten and ignored, a lonely beacon of light in a deepening winter darkness".Sibelius was not easily stirred from his exile; friend and fellow composer Wilhelm Stenhammar, then Artistic Director and chief conductor of the Gothenburg Symphony Orchestra, wrote to Sibelius repeatedly to persuade him to conduct a concert of his works in Gothenburg. Believing himself duty-bound to premiere a "major work" in Sweden, such as a symphony, Sibelius—to Stenhammar's chagrin—delayed each scheduled trip. He withdrew from planned concerts for March 1914, writing to Stenhammar, "My conscience forces me to this. But when I have some new works ready next year, as I hope, it would give me great joy to perform them in Gothenburg". New arrangements were made for February 1915, but these, too, Sibelius canceled in December 1914. In the end, the indefatigable Stenhammar prevailed and new concerts were set for March 1915 ("I see yet again your great sympathy for my music. I shall come".).Stenhammar's efforts were rewarded with the European premiere of The Oceanides. For Sibelius, it was an opportunity to once again be an "artist on tour", feeding off the energy and "rapturous ovations" of an audience (it had been nine months since the Norfolk concerts, which now seemed a distant memory). The first concert, on March 22, featured the Second Symphony, Scènes historiques II, and two movements from Swanwhite before concluding with The Oceanides. According to Sibelius's diary, the performance was a "great success", with Stenhammar "captivated" particularly by the final number. The 24 March program retained The Oceanides, but paired it with Scènes historiques I, the Nocturne from the King Christian II Suite, a movement from Rakastava, Lemminkäinen's Return, and the Fourth Symphony. Sibelius was very pleased with the orchestra's handling of The Oceanides, calling its performance "wonderful". He goes on to note in his diary that, "After the final number [The Oceanides] there was a deafening torrent of applause, stamps, cries of bravo, a standing ovation and fanfares from the orchestra".

Question: In what month of 1914 was the initial planned concert between the exiled composer and the conductor of the Gothenburg Symphony Orchestra set?
Answer: March
With the outbreak of World War I on 28 July 1914, The Oceanides languished. Wartime politics being what they were, Sibelius's music was seldom played outside the Nordic countries and the United States: in Germany, there was little demand for the music of an "enemy national", while in Russia, Finns were viewed as being "less than loyal subjects of the Tsar". In any case, many of Sibelius's works had been printed by German publishing houses, a detail that harmed Sibelius's reputation not only in Russia, but also Britain and the United States. According to Tawaststjerna, the war plunged Sibelius into a state of melancholy and creative struggle (the Fifth and Sixth symphonies were in the process of simultaneous gestation at this time). His response was to retreat into near solitude: he abstained from attending and giving concerts and neglected his circle of friends, and he imagined himself "forgotten and ignored, a lonely beacon of light in a deepening winter darkness".Sibelius was not easily stirred from his exile; friend and fellow composer Wilhelm Stenhammar, then Artistic Director and chief conductor of the Gothenburg Symphony Orchestra, wrote to Sibelius repeatedly to persuade him to conduct a concert of his works in Gothenburg. Believing himself duty-bound to premiere a "major work" in Sweden, such as a symphony, Sibelius—to Stenhammar's chagrin—delayed each scheduled trip. He withdrew from planned concerts for March 1914, writing to Stenhammar, "My conscience forces me to this. But when I have some new works ready next year, as I hope, it would give me great joy to perform them in Gothenburg". New arrangements were made for February 1915, but these, too, Sibelius canceled in December 1914. In the end, the indefatigable Stenhammar prevailed and new concerts were set for March 1915 ("I see yet again your great sympathy for my music. I shall come".).Stenhammar's efforts were rewarded with the European premiere of The Oceanides. For Sibelius, it was an opportunity to once again be an "artist on tour", feeding off the energy and "rapturous ovations" of an audience (it had been nine months since the Norfolk concerts, which now seemed a distant memory). The first concert, on March 22, featured the Second Symphony, Scènes historiques II, and two movements from Swanwhite before concluding with The Oceanides. According to Sibelius's diary, the performance was a "great success", with Stenhammar "captivated" particularly by the final number. The 24 March program retained The Oceanides, but paired it with Scènes historiques I, the Nocturne from the King Christian II Suite, a movement from Rakastava, Lemminkäinen's Return, and the Fourth Symphony. Sibelius was very pleased with the orchestra's handling of The Oceanides, calling its performance "wonderful". He goes on to note in his diary that, "After the final number [The Oceanides] there was a deafening torrent of applause, stamps, cries of bravo, a standing ovation and fanfares from the orchestra".

Question: What is the last name of the man that put on a performance that captivated the chief conductor of  the Gothenburg Symphony Orchestra?
Answer: Sibelius
Critical opinion as to the merit of The Oceanides has been overwhelmingly positive, and today the piece is counted among Sibelius's masterpieces. Following the 1914 premiere, Olin Downes, the American music critic and Sibelius devotee, described the new work as "the finest evocation of the sea which has ever been produced in music", praising the composer for his "extraordinarily developed feeling for form, proportion and continuity". Downes furthermore assessed Sibelius's Norfolk concert as just the third time since 1900 that he had "felt himself in the presence of a genius of world class" (the other two being Richard Strauss in 1904 and Arturo Toscanini in 1910). An unsigned review in the New York Tribune (almost certainly penned by critic Henry Krehbiel) found the new work "fresh and vital, full of imagination and strong in climax". He continues:
Extremists will probably deplore the fact that the composer is still a respecter of form, still a devotee of beauty, still a believer in the potency of melody; but this is rather a matter for congratulation than regret ... Mr. Sibelius is a fine musical constructionist, an eloquent harmonist and a fine colorist despite his fondness for dark tints.
The influential Swedish critic Wilhelm Peterson-Berger, always a thorn in Sibelius's side and whom the composer had once mocked as "his lordship", required some three encounters with The Oceanides before warming to the new symphonic poem: after hearing the Stockholm Concert Society under Sibelius in 1923, Peterson-Berger at last embraced the piece. "The Oceanides was totally and completely different from three years ago under Schnéevoigt", he wrote. "In this beautiful poem one really heard something of the sound of the Aegean Sea and of Homer".

Question: What is the name of the person that was described as a genius of world class?
Answer: Sibelius
Critical opinion as to the merit of The Oceanides has been overwhelmingly positive, and today the piece is counted among Sibelius's masterpieces. Following the 1914 premiere, Olin Downes, the American music critic and Sibelius devotee, described the new work as "the finest evocation of the sea which has ever been produced in music", praising the composer for his "extraordinarily developed feeling for form, proportion and continuity". Downes furthermore assessed Sibelius's Norfolk concert as just the third time since 1900 that he had "felt himself in the presence of a genius of world class" (the other two being Richard Strauss in 1904 and Arturo Toscanini in 1910). An unsigned review in the New York Tribune (almost certainly penned by critic Henry Krehbiel) found the new work "fresh and vital, full of imagination and strong in climax". He continues:
Extremists will probably deplore the fact that the composer is still a respecter of form, still a devotee of beauty, still a believer in the potency of melody; but this is rather a matter for congratulation than regret ... Mr. Sibelius is a fine musical constructionist, an eloquent harmonist and a fine colorist despite his fondness for dark tints.
The influential Swedish critic Wilhelm Peterson-Berger, always a thorn in Sibelius's side and whom the composer had once mocked as "his lordship", required some three encounters with The Oceanides before warming to the new symphonic poem: after hearing the Stockholm Concert Society under Sibelius in 1923, Peterson-Berger at last embraced the piece. "The Oceanides was totally and completely different from three years ago under Schnéevoigt", he wrote. "In this beautiful poem one really heard something of the sound of the Aegean Sea and of Homer".

Question: What is the full name of the person that warmed to the new symphonic poem after hearing it performed by the Stockholm Concert Society?
Answer: Wilhelm Peterson-Berger
Critical opinion as to the merit of The Oceanides has been overwhelmingly positive, and today the piece is counted among Sibelius's masterpieces. Following the 1914 premiere, Olin Downes, the American music critic and Sibelius devotee, described the new work as "the finest evocation of the sea which has ever been produced in music", praising the composer for his "extraordinarily developed feeling for form, proportion and continuity". Downes furthermore assessed Sibelius's Norfolk concert as just the third time since 1900 that he had "felt himself in the presence of a genius of world class" (the other two being Richard Strauss in 1904 and Arturo Toscanini in 1910). An unsigned review in the New York Tribune (almost certainly penned by critic Henry Krehbiel) found the new work "fresh and vital, full of imagination and strong in climax". He continues:
Extremists will probably deplore the fact that the composer is still a respecter of form, still a devotee of beauty, still a believer in the potency of melody; but this is rather a matter for congratulation than regret ... Mr. Sibelius is a fine musical constructionist, an eloquent harmonist and a fine colorist despite his fondness for dark tints.
The influential Swedish critic Wilhelm Peterson-Berger, always a thorn in Sibelius's side and whom the composer had once mocked as "his lordship", required some three encounters with The Oceanides before warming to the new symphonic poem: after hearing the Stockholm Concert Society under Sibelius in 1923, Peterson-Berger at last embraced the piece. "The Oceanides was totally and completely different from three years ago under Schnéevoigt", he wrote. "In this beautiful poem one really heard something of the sound of the Aegean Sea and of Homer".

Question: What is the full name of the person Sibelius mocked as "his lordship"?
Answer: Wilhelm Peterson-Berger