nc33/multispan_quoref huggingface dataset:
Nielsen is perhaps most closely associated outside Denmark with his six symphonies, written between 1892 and 1925. The works have much in common: they are all just over 30 minutes long, brass instruments are a key component of the orchestration, and they all exhibit unusual changes in tonality, which heighten the dramatic tension. From its opening bars, Symphony No. 1 (Op. 7, 1890–92), while reflecting the influence of Grieg and Brahms, shows Nielsen's individuality. In Symphony No. 2 (Op. 16, 1901–02), Nielsen embarks on the development of human character. Inspiration came from a painting in an inn depicting the four temperaments (choleric, phlegmatic, melancholic, and sanguine).The title of Symphony No. 3, Sinfonia Espansiva (Op. 27, 1910–11), is understood by the English composer Robert Simpson to refer to the "outward growth of the mind's scope". It fully exploits Nielsen's technique of confronting two keys at the same time and includes a peaceful section with soprano and baritone voices, singing a tune without words. Symphony No. 4, The Inextinguishable (Op. 29, 1914–16), written during World War I, is among the most frequently performed of the symphonies. In the last movement two sets of timpani are placed on opposite sides of the stage undertaking a kind of musical duel. Nielsen described the symphony as "the life force, the unquenchable will to live".Also frequently performed is the Symphony No. 5 (Op. 50, 1921–22), presenting another battle between the forces of order and chaos. A snare drummer is given the task of interrupting the orchestra, playing ad libitum and out of time, as if to destroy the music. Performed by the Danish Radio Symphony Orchestra conducted by Erik Tuxen at the 1950 Edinburgh International Festival, it caused a sensation, sparking interest in Nielsen's music outside Scandinavia. In Symphony No. 6 (without opus number), written 1924–25, and subtitled Sinfonia Semplice (Simple Symphony), the tonal language seems similar to that in Nielsen's other symphonies, but the symphony develops into a sequence of cameos, some sad, some grotesque, some humorous.

Question: What is the full name and title of the symphony described by Nielsen as "the life force, the unquenchable will to live"?
Answer: Symphony No. 4, The Inextinguishable
Nielsen is perhaps most closely associated outside Denmark with his six symphonies, written between 1892 and 1925. The works have much in common: they are all just over 30 minutes long, brass instruments are a key component of the orchestration, and they all exhibit unusual changes in tonality, which heighten the dramatic tension. From its opening bars, Symphony No. 1 (Op. 7, 1890–92), while reflecting the influence of Grieg and Brahms, shows Nielsen's individuality. In Symphony No. 2 (Op. 16, 1901–02), Nielsen embarks on the development of human character. Inspiration came from a painting in an inn depicting the four temperaments (choleric, phlegmatic, melancholic, and sanguine).The title of Symphony No. 3, Sinfonia Espansiva (Op. 27, 1910–11), is understood by the English composer Robert Simpson to refer to the "outward growth of the mind's scope". It fully exploits Nielsen's technique of confronting two keys at the same time and includes a peaceful section with soprano and baritone voices, singing a tune without words. Symphony No. 4, The Inextinguishable (Op. 29, 1914–16), written during World War I, is among the most frequently performed of the symphonies. In the last movement two sets of timpani are placed on opposite sides of the stage undertaking a kind of musical duel. Nielsen described the symphony as "the life force, the unquenchable will to live".Also frequently performed is the Symphony No. 5 (Op. 50, 1921–22), presenting another battle between the forces of order and chaos. A snare drummer is given the task of interrupting the orchestra, playing ad libitum and out of time, as if to destroy the music. Performed by the Danish Radio Symphony Orchestra conducted by Erik Tuxen at the 1950 Edinburgh International Festival, it caused a sensation, sparking interest in Nielsen's music outside Scandinavia. In Symphony No. 6 (without opus number), written 1924–25, and subtitled Sinfonia Semplice (Simple Symphony), the tonal language seems similar to that in Nielsen's other symphonies, but the symphony develops into a sequence of cameos, some sad, some grotesque, some humorous.

Question: What is the full name and title of the symphony in which two sets of timpani are placed on opposite sides of the stage undertaking a kind of musical due?
Answer: Symphony No. 4, The Inextinguishable
Nielsen is perhaps most closely associated outside Denmark with his six symphonies, written between 1892 and 1925. The works have much in common: they are all just over 30 minutes long, brass instruments are a key component of the orchestration, and they all exhibit unusual changes in tonality, which heighten the dramatic tension. From its opening bars, Symphony No. 1 (Op. 7, 1890–92), while reflecting the influence of Grieg and Brahms, shows Nielsen's individuality. In Symphony No. 2 (Op. 16, 1901–02), Nielsen embarks on the development of human character. Inspiration came from a painting in an inn depicting the four temperaments (choleric, phlegmatic, melancholic, and sanguine).The title of Symphony No. 3, Sinfonia Espansiva (Op. 27, 1910–11), is understood by the English composer Robert Simpson to refer to the "outward growth of the mind's scope". It fully exploits Nielsen's technique of confronting two keys at the same time and includes a peaceful section with soprano and baritone voices, singing a tune without words. Symphony No. 4, The Inextinguishable (Op. 29, 1914–16), written during World War I, is among the most frequently performed of the symphonies. In the last movement two sets of timpani are placed on opposite sides of the stage undertaking a kind of musical duel. Nielsen described the symphony as "the life force, the unquenchable will to live".Also frequently performed is the Symphony No. 5 (Op. 50, 1921–22), presenting another battle between the forces of order and chaos. A snare drummer is given the task of interrupting the orchestra, playing ad libitum and out of time, as if to destroy the music. Performed by the Danish Radio Symphony Orchestra conducted by Erik Tuxen at the 1950 Edinburgh International Festival, it caused a sensation, sparking interest in Nielsen's music outside Scandinavia. In Symphony No. 6 (without opus number), written 1924–25, and subtitled Sinfonia Semplice (Simple Symphony), the tonal language seems similar to that in Nielsen's other symphonies, but the symphony develops into a sequence of cameos, some sad, some grotesque, some humorous.

Question: What is the full name of the symphony that develops into a sequence of cameos, some sad, some grotesque, some humorous?
Answer: Symphony No. 6
Nielsen is perhaps most closely associated outside Denmark with his six symphonies, written between 1892 and 1925. The works have much in common: they are all just over 30 minutes long, brass instruments are a key component of the orchestration, and they all exhibit unusual changes in tonality, which heighten the dramatic tension. From its opening bars, Symphony No. 1 (Op. 7, 1890–92), while reflecting the influence of Grieg and Brahms, shows Nielsen's individuality. In Symphony No. 2 (Op. 16, 1901–02), Nielsen embarks on the development of human character. Inspiration came from a painting in an inn depicting the four temperaments (choleric, phlegmatic, melancholic, and sanguine).The title of Symphony No. 3, Sinfonia Espansiva (Op. 27, 1910–11), is understood by the English composer Robert Simpson to refer to the "outward growth of the mind's scope". It fully exploits Nielsen's technique of confronting two keys at the same time and includes a peaceful section with soprano and baritone voices, singing a tune without words. Symphony No. 4, The Inextinguishable (Op. 29, 1914–16), written during World War I, is among the most frequently performed of the symphonies. In the last movement two sets of timpani are placed on opposite sides of the stage undertaking a kind of musical duel. Nielsen described the symphony as "the life force, the unquenchable will to live".Also frequently performed is the Symphony No. 5 (Op. 50, 1921–22), presenting another battle between the forces of order and chaos. A snare drummer is given the task of interrupting the orchestra, playing ad libitum and out of time, as if to destroy the music. Performed by the Danish Radio Symphony Orchestra conducted by Erik Tuxen at the 1950 Edinburgh International Festival, it caused a sensation, sparking interest in Nielsen's music outside Scandinavia. In Symphony No. 6 (without opus number), written 1924–25, and subtitled Sinfonia Semplice (Simple Symphony), the tonal language seems similar to that in Nielsen's other symphonies, but the symphony develops into a sequence of cameos, some sad, some grotesque, some humorous.

Question: What is the full name of the symphony in which snare drummer is given the task of interrupting the orchestra, playing ad libitum and out of time, as if to destroy the music?
Answer: Symphony No. 5
Nielsen is perhaps most closely associated outside Denmark with his six symphonies, written between 1892 and 1925. The works have much in common: they are all just over 30 minutes long, brass instruments are a key component of the orchestration, and they all exhibit unusual changes in tonality, which heighten the dramatic tension. From its opening bars, Symphony No. 1 (Op. 7, 1890–92), while reflecting the influence of Grieg and Brahms, shows Nielsen's individuality. In Symphony No. 2 (Op. 16, 1901–02), Nielsen embarks on the development of human character. Inspiration came from a painting in an inn depicting the four temperaments (choleric, phlegmatic, melancholic, and sanguine).The title of Symphony No. 3, Sinfonia Espansiva (Op. 27, 1910–11), is understood by the English composer Robert Simpson to refer to the "outward growth of the mind's scope". It fully exploits Nielsen's technique of confronting two keys at the same time and includes a peaceful section with soprano and baritone voices, singing a tune without words. Symphony No. 4, The Inextinguishable (Op. 29, 1914–16), written during World War I, is among the most frequently performed of the symphonies. In the last movement two sets of timpani are placed on opposite sides of the stage undertaking a kind of musical duel. Nielsen described the symphony as "the life force, the unquenchable will to live".Also frequently performed is the Symphony No. 5 (Op. 50, 1921–22), presenting another battle between the forces of order and chaos. A snare drummer is given the task of interrupting the orchestra, playing ad libitum and out of time, as if to destroy the music. Performed by the Danish Radio Symphony Orchestra conducted by Erik Tuxen at the 1950 Edinburgh International Festival, it caused a sensation, sparking interest in Nielsen's music outside Scandinavia. In Symphony No. 6 (without opus number), written 1924–25, and subtitled Sinfonia Semplice (Simple Symphony), the tonal language seems similar to that in Nielsen's other symphonies, but the symphony develops into a sequence of cameos, some sad, some grotesque, some humorous.

Question: What is the full name of the symphony that caused a sensation when conducted by Erik Tuxen at the 1950 Edinburgh International Festival, sparking interest in Nielsen's music outside Scandinavia?
Answer: Symphony No. 5
Nielsen's two operas are very different in style. The four-act Saul og David (Saul and David), written in 1902 to a libretto by Einar Christiansen, tells the Biblical story of Saul's jealousy of the young David while Maskarade (Masquerade) is a comic opera in three acts written in 1906 to a Danish libretto by Vilhelm Andersen, based on the comedy by Ludvig Holberg. Saul and David received a negative press when it was premiered in November 1902 and did no better when it was revived in 1904. By contrast, in November 1906 Masquerade was a resounding success with an exceptional run of 25 performances over its first four months. Generally considered to be Denmark's national opera, in its home country it has enjoyed lasting success and popularity, attributable to its many strophic songs, its dances and its underlying "old Copenhagen" atmosphere.Nielsen wrote a considerable number of choral works but most of them were composed for special occasions and were seldom reprised. Three fully-fledged cantatas for soloists, orchestra and choir have, however, entered the repertoire. Nielsen composed Hymnus amoris (Hymn of Love), Op. 12 (1897) after studying early polyphonic choral style.  Writing in the newspaper Dannebrog, Nanna Liebmann referred to the work as "a decisive victory" for Nielsen, and Angul Hammerich of Nationaltidende welcomed its improved clarity and purity. But the Berlingske Tidende reviewer H.W. Schytte thought Nielsen had been pretentious presenting the lyrics in Latin rather than Danish. Søvnen (The Sleep), Op. 18, Nielsen's second major choral work, sets to music the various phases of sleep including the terror of a nightmare in its central movement which, with its unusual discords, came as a shock to the reviewers at its premiere in March 1905. Fynsk Foraar (Springtime on Funen), Op. 42, completed in 1922, has been cited as the most Danish of all Nielsen's compositions as it extols the beauty of Funen's countryside.

Question: What composition did Nielsen been pretentious presenting the lyrics in Latin rather than Danish?
Answer: Hymnus amoris
Nielsen's two operas are very different in style. The four-act Saul og David (Saul and David), written in 1902 to a libretto by Einar Christiansen, tells the Biblical story of Saul's jealousy of the young David while Maskarade (Masquerade) is a comic opera in three acts written in 1906 to a Danish libretto by Vilhelm Andersen, based on the comedy by Ludvig Holberg. Saul and David received a negative press when it was premiered in November 1902 and did no better when it was revived in 1904. By contrast, in November 1906 Masquerade was a resounding success with an exceptional run of 25 performances over its first four months. Generally considered to be Denmark's national opera, in its home country it has enjoyed lasting success and popularity, attributable to its many strophic songs, its dances and its underlying "old Copenhagen" atmosphere.Nielsen wrote a considerable number of choral works but most of them were composed for special occasions and were seldom reprised. Three fully-fledged cantatas for soloists, orchestra and choir have, however, entered the repertoire. Nielsen composed Hymnus amoris (Hymn of Love), Op. 12 (1897) after studying early polyphonic choral style.  Writing in the newspaper Dannebrog, Nanna Liebmann referred to the work as "a decisive victory" for Nielsen, and Angul Hammerich of Nationaltidende welcomed its improved clarity and purity. But the Berlingske Tidende reviewer H.W. Schytte thought Nielsen had been pretentious presenting the lyrics in Latin rather than Danish. Søvnen (The Sleep), Op. 18, Nielsen's second major choral work, sets to music the various phases of sleep including the terror of a nightmare in its central movement which, with its unusual discords, came as a shock to the reviewers at its premiere in March 1905. Fynsk Foraar (Springtime on Funen), Op. 42, completed in 1922, has been cited as the most Danish of all Nielsen's compositions as it extols the beauty of Funen's countryside.

Question: What composition premiered in March 1905?
Answer: Søvnen
Nielsen's two operas are very different in style. The four-act Saul og David (Saul and David), written in 1902 to a libretto by Einar Christiansen, tells the Biblical story of Saul's jealousy of the young David while Maskarade (Masquerade) is a comic opera in three acts written in 1906 to a Danish libretto by Vilhelm Andersen, based on the comedy by Ludvig Holberg. Saul and David received a negative press when it was premiered in November 1902 and did no better when it was revived in 1904. By contrast, in November 1906 Masquerade was a resounding success with an exceptional run of 25 performances over its first four months. Generally considered to be Denmark's national opera, in its home country it has enjoyed lasting success and popularity, attributable to its many strophic songs, its dances and its underlying "old Copenhagen" atmosphere.Nielsen wrote a considerable number of choral works but most of them were composed for special occasions and were seldom reprised. Three fully-fledged cantatas for soloists, orchestra and choir have, however, entered the repertoire. Nielsen composed Hymnus amoris (Hymn of Love), Op. 12 (1897) after studying early polyphonic choral style.  Writing in the newspaper Dannebrog, Nanna Liebmann referred to the work as "a decisive victory" for Nielsen, and Angul Hammerich of Nationaltidende welcomed its improved clarity and purity. But the Berlingske Tidende reviewer H.W. Schytte thought Nielsen had been pretentious presenting the lyrics in Latin rather than Danish. Søvnen (The Sleep), Op. 18, Nielsen's second major choral work, sets to music the various phases of sleep including the terror of a nightmare in its central movement which, with its unusual discords, came as a shock to the reviewers at its premiere in March 1905. Fynsk Foraar (Springtime on Funen), Op. 42, completed in 1922, has been cited as the most Danish of all Nielsen's compositions as it extols the beauty of Funen's countryside.

Question: What was the title of Nielsen's third cantata?
Answer: Fynsk Foraar
Nielsen wrote three concertos: the Violin Concerto, Op. 33 is a middle-period work, from 1911, which lies within the tradition of European classicism, whereas the Flute Concerto (without opus number) of 1926 and the Clarinet Concerto, Op. 57 which followed in 1928 are late works, influenced by the modernism of the 1920s and, according to the Danish musicologist Herbert Rosenberg, the product of "an extremely experienced composer who knows how to avoid inessentials." Unlike Nielsen's later works, the Violin Concerto has a distinct, melody-oriented neo-classical structure. The Flute Concerto, in two movements, was written for the flautist Holger Gilbert-Jespersen, a member of the Copenhagen Wind Quintet which had premiered Nielsen's Wind Quintet (1922). In contrast to the rather traditional style of the Violin Concerto, it reflects the modernistic trends of the period. The first movement, for example, switches between D minor, E-flat minor and F major before the flute comes to the fore with a cantabile theme in E major. The Clarinet Concerto was also written for a member of the Copenhagen Wind Quintet, Aage Oxenvad. Nielsen stretches the capacities of instrument and player to the utmost; the concerto has just one continuous movement and contains a struggle between the soloist and the orchestra and between the two principal competing keys, F major and E major.The wind concertos present many examples of what Nielsen called objektivering ("objectification"). By this term he meant giving instrumentalists freedom of interpretation and performance within the bounds set out by the score.

Question: What are the names of the three concertos written by Nielsen?
Answer: the Violin Concerto, Op. 33, the Clarinet Concerto, Op. 57, the Flute Concerto
Nielsen wrote three concertos: the Violin Concerto, Op. 33 is a middle-period work, from 1911, which lies within the tradition of European classicism, whereas the Flute Concerto (without opus number) of 1926 and the Clarinet Concerto, Op. 57 which followed in 1928 are late works, influenced by the modernism of the 1920s and, according to the Danish musicologist Herbert Rosenberg, the product of "an extremely experienced composer who knows how to avoid inessentials." Unlike Nielsen's later works, the Violin Concerto has a distinct, melody-oriented neo-classical structure. The Flute Concerto, in two movements, was written for the flautist Holger Gilbert-Jespersen, a member of the Copenhagen Wind Quintet which had premiered Nielsen's Wind Quintet (1922). In contrast to the rather traditional style of the Violin Concerto, it reflects the modernistic trends of the period. The first movement, for example, switches between D minor, E-flat minor and F major before the flute comes to the fore with a cantabile theme in E major. The Clarinet Concerto was also written for a member of the Copenhagen Wind Quintet, Aage Oxenvad. Nielsen stretches the capacities of instrument and player to the utmost; the concerto has just one continuous movement and contains a struggle between the soloist and the orchestra and between the two principal competing keys, F major and E major.The wind concertos present many examples of what Nielsen called objektivering ("objectification"). By this term he meant giving instrumentalists freedom of interpretation and performance within the bounds set out by the score.

Question: What two Quintets did Holger Gilbert-Jespersen play?
Answer: Copenhagen Wind Quintet, Nielsen's Wind Quintet
Nielsen wrote three concertos: the Violin Concerto, Op. 33 is a middle-period work, from 1911, which lies within the tradition of European classicism, whereas the Flute Concerto (without opus number) of 1926 and the Clarinet Concerto, Op. 57 which followed in 1928 are late works, influenced by the modernism of the 1920s and, according to the Danish musicologist Herbert Rosenberg, the product of "an extremely experienced composer who knows how to avoid inessentials." Unlike Nielsen's later works, the Violin Concerto has a distinct, melody-oriented neo-classical structure. The Flute Concerto, in two movements, was written for the flautist Holger Gilbert-Jespersen, a member of the Copenhagen Wind Quintet which had premiered Nielsen's Wind Quintet (1922). In contrast to the rather traditional style of the Violin Concerto, it reflects the modernistic trends of the period. The first movement, for example, switches between D minor, E-flat minor and F major before the flute comes to the fore with a cantabile theme in E major. The Clarinet Concerto was also written for a member of the Copenhagen Wind Quintet, Aage Oxenvad. Nielsen stretches the capacities of instrument and player to the utmost; the concerto has just one continuous movement and contains a struggle between the soloist and the orchestra and between the two principal competing keys, F major and E major.The wind concertos present many examples of what Nielsen called objektivering ("objectification"). By this term he meant giving instrumentalists freedom of interpretation and performance within the bounds set out by the score.

Question: What are the names of the two people who were members of the Copenhagen Wind Quintet?
Answer: Holger Gilbert-Jespersen, Aage Oxenvad
Nielsen wrote three concertos: the Violin Concerto, Op. 33 is a middle-period work, from 1911, which lies within the tradition of European classicism, whereas the Flute Concerto (without opus number) of 1926 and the Clarinet Concerto, Op. 57 which followed in 1928 are late works, influenced by the modernism of the 1920s and, according to the Danish musicologist Herbert Rosenberg, the product of "an extremely experienced composer who knows how to avoid inessentials." Unlike Nielsen's later works, the Violin Concerto has a distinct, melody-oriented neo-classical structure. The Flute Concerto, in two movements, was written for the flautist Holger Gilbert-Jespersen, a member of the Copenhagen Wind Quintet which had premiered Nielsen's Wind Quintet (1922). In contrast to the rather traditional style of the Violin Concerto, it reflects the modernistic trends of the period. The first movement, for example, switches between D minor, E-flat minor and F major before the flute comes to the fore with a cantabile theme in E major. The Clarinet Concerto was also written for a member of the Copenhagen Wind Quintet, Aage Oxenvad. Nielsen stretches the capacities of instrument and player to the utmost; the concerto has just one continuous movement and contains a struggle between the soloist and the orchestra and between the two principal competing keys, F major and E major.The wind concertos present many examples of what Nielsen called objektivering ("objectification"). By this term he meant giving instrumentalists freedom of interpretation and performance within the bounds set out by the score.

Question: What was the name of the composer who Rosenberg said knew how to avoid inessentials?
Answer: Nielsen
Over the years, Nielsen wrote the music for over 290 songs and hymns, most of them for verses and poems by well-known Danish authors such as N. F. S. Grundtvig, Ingemann, Poul Martin Møller, Adam Oehlenschläger and Jeppe Aakjær. In Denmark, many of them are still popular today both with adults and children. They are regarded as "the most representative part of the country's most representative composer's output". In 1906, Nielsen had explained the significance of such songs to his countrymen:With certain melodic inflections we Danes unavoidably think of the poems of, for example, Ingemann, Christian Winther or Drachmann, and we often seem to perceive the smell of Danish landscapes and rural images in our songs and music. But it is also clear that a foreigner, who knows neither our countryside, nor our painters, our poets, or our history in the same intimate way as we do ourselves, will be completely unable to grasp what it is that brings us to hear and tremble with sympathetic understanding.
Of great significance was Nielsen's contribution to the 1922 publication,  Folkehøjskolens Melodibog (The Folk High School Songbook), of which he was one of the editors together with Thomas Laub, Oluf Ring and Thorvald Aagaard. The book contained about 600 melodies, of which about 200 were composed by the editors, and was intended to provide a repertoire for communal singing, an integral part of Danish folk culture. The collection was extremely popular and became embedded in the Danish educational system. During the German occupation of Denmark in World War II, mass song gatherings, using these melodies, were part of Denmark's "spiritual re-armament", and after the war in 1945 Nielsen's contributions were characterised by one writer as "shining jewels in our treasure-chest of patriotic songs". This remains a significant factor in Danish assessment of the composer.

Question: What major world event led to Denmark seeing the man who wrote over 290 songs as someone who created "shining jewels in our treasure chest"
Answer: World War II
From 1916, Nielsen taught at the Royal Academy where he became director in 1931, shortly before his death. He also had private students in his earlier days in order to supplement his income. As a result of his teaching, Nielsen has exerted considerable influence on classical music in Denmark. Among his most successful pupils were the composers Thorvald Aagaard, remembered in particular for his songs, Harald Agersnap, both a conductor and orchestral composer, and Jørgen Bentzon who composed choral and chamber music mainly for his folk music school (Københavns Folkemusikskole). Among his other students were the musicologist Knud Jeppesen, the pianist Herman Koppel, the academy professor and symphony composer Poul Schierbeck, the organist Emilius Bangert who played at Roskilde Cathedral, and Nancy Dalberg, one of Nielsen's private students who helped with the orchestration of Aladdin. Nielsen also instructed the conductor and choirmaster Mogens Wöldike, remembered for his interpretations of Baroque music, and Rudolph Simonsen, the pianist and composer who became director of the Academy after Nielsen's death.The Carl Nielsen Society maintains a listing of performances of Nielsen's works, classified by region (Denmark, Scandinavia, Europe apart from Scandinavia and outside Europe) which demonstrates that his music is regularly performed throughout the world. The concerti and symphonies feature frequently in these listings.
The Carl Nielsen International Competition commenced in the 1970s under the auspices of the Odense Symphony Orchestra. A four-yearly violin competition has been held there since 1980. Flute and clarinet competitions were later added, but these have now been discontinued. An international Organ Competition, founded by the city of Odense, became associated with the Nielsen competition in 2009, but from 2015 will be organized separately, based in Odense Cathedral.

Question: What is the last name of the person that taught Knud Jeppesen?
Answer: Nielsen
From 1916, Nielsen taught at the Royal Academy where he became director in 1931, shortly before his death. He also had private students in his earlier days in order to supplement his income. As a result of his teaching, Nielsen has exerted considerable influence on classical music in Denmark. Among his most successful pupils were the composers Thorvald Aagaard, remembered in particular for his songs, Harald Agersnap, both a conductor and orchestral composer, and Jørgen Bentzon who composed choral and chamber music mainly for his folk music school (Københavns Folkemusikskole). Among his other students were the musicologist Knud Jeppesen, the pianist Herman Koppel, the academy professor and symphony composer Poul Schierbeck, the organist Emilius Bangert who played at Roskilde Cathedral, and Nancy Dalberg, one of Nielsen's private students who helped with the orchestration of Aladdin. Nielsen also instructed the conductor and choirmaster Mogens Wöldike, remembered for his interpretations of Baroque music, and Rudolph Simonsen, the pianist and composer who became director of the Academy after Nielsen's death.The Carl Nielsen Society maintains a listing of performances of Nielsen's works, classified by region (Denmark, Scandinavia, Europe apart from Scandinavia and outside Europe) which demonstrates that his music is regularly performed throughout the world. The concerti and symphonies feature frequently in these listings.
The Carl Nielsen International Competition commenced in the 1970s under the auspices of the Odense Symphony Orchestra. A four-yearly violin competition has been held there since 1980. Flute and clarinet competitions were later added, but these have now been discontinued. An international Organ Competition, founded by the city of Odense, became associated with the Nielsen competition in 2009, but from 2015 will be organized separately, based in Odense Cathedral.

Question: What is the last name of the person that taught Herman Koppel?
Answer: Nielsen
From 1916, Nielsen taught at the Royal Academy where he became director in 1931, shortly before his death. He also had private students in his earlier days in order to supplement his income. As a result of his teaching, Nielsen has exerted considerable influence on classical music in Denmark. Among his most successful pupils were the composers Thorvald Aagaard, remembered in particular for his songs, Harald Agersnap, both a conductor and orchestral composer, and Jørgen Bentzon who composed choral and chamber music mainly for his folk music school (Københavns Folkemusikskole). Among his other students were the musicologist Knud Jeppesen, the pianist Herman Koppel, the academy professor and symphony composer Poul Schierbeck, the organist Emilius Bangert who played at Roskilde Cathedral, and Nancy Dalberg, one of Nielsen's private students who helped with the orchestration of Aladdin. Nielsen also instructed the conductor and choirmaster Mogens Wöldike, remembered for his interpretations of Baroque music, and Rudolph Simonsen, the pianist and composer who became director of the Academy after Nielsen's death.The Carl Nielsen Society maintains a listing of performances of Nielsen's works, classified by region (Denmark, Scandinavia, Europe apart from Scandinavia and outside Europe) which demonstrates that his music is regularly performed throughout the world. The concerti and symphonies feature frequently in these listings.
The Carl Nielsen International Competition commenced in the 1970s under the auspices of the Odense Symphony Orchestra. A four-yearly violin competition has been held there since 1980. Flute and clarinet competitions were later added, but these have now been discontinued. An international Organ Competition, founded by the city of Odense, became associated with the Nielsen competition in 2009, but from 2015 will be organized separately, based in Odense Cathedral.

Question: What is the last name of the person that taught Poul Schierbeck?
Answer: Nielsen
From 1916, Nielsen taught at the Royal Academy where he became director in 1931, shortly before his death. He also had private students in his earlier days in order to supplement his income. As a result of his teaching, Nielsen has exerted considerable influence on classical music in Denmark. Among his most successful pupils were the composers Thorvald Aagaard, remembered in particular for his songs, Harald Agersnap, both a conductor and orchestral composer, and Jørgen Bentzon who composed choral and chamber music mainly for his folk music school (Københavns Folkemusikskole). Among his other students were the musicologist Knud Jeppesen, the pianist Herman Koppel, the academy professor and symphony composer Poul Schierbeck, the organist Emilius Bangert who played at Roskilde Cathedral, and Nancy Dalberg, one of Nielsen's private students who helped with the orchestration of Aladdin. Nielsen also instructed the conductor and choirmaster Mogens Wöldike, remembered for his interpretations of Baroque music, and Rudolph Simonsen, the pianist and composer who became director of the Academy after Nielsen's death.The Carl Nielsen Society maintains a listing of performances of Nielsen's works, classified by region (Denmark, Scandinavia, Europe apart from Scandinavia and outside Europe) which demonstrates that his music is regularly performed throughout the world. The concerti and symphonies feature frequently in these listings.
The Carl Nielsen International Competition commenced in the 1970s under the auspices of the Odense Symphony Orchestra. A four-yearly violin competition has been held there since 1980. Flute and clarinet competitions were later added, but these have now been discontinued. An international Organ Competition, founded by the city of Odense, became associated with the Nielsen competition in 2009, but from 2015 will be organized separately, based in Odense Cathedral.

Question: What was the last name of Emilius Bangert teacher?
Answer: Nielsen
From 1916, Nielsen taught at the Royal Academy where he became director in 1931, shortly before his death. He also had private students in his earlier days in order to supplement his income. As a result of his teaching, Nielsen has exerted considerable influence on classical music in Denmark. Among his most successful pupils were the composers Thorvald Aagaard, remembered in particular for his songs, Harald Agersnap, both a conductor and orchestral composer, and Jørgen Bentzon who composed choral and chamber music mainly for his folk music school (Københavns Folkemusikskole). Among his other students were the musicologist Knud Jeppesen, the pianist Herman Koppel, the academy professor and symphony composer Poul Schierbeck, the organist Emilius Bangert who played at Roskilde Cathedral, and Nancy Dalberg, one of Nielsen's private students who helped with the orchestration of Aladdin. Nielsen also instructed the conductor and choirmaster Mogens Wöldike, remembered for his interpretations of Baroque music, and Rudolph Simonsen, the pianist and composer who became director of the Academy after Nielsen's death.The Carl Nielsen Society maintains a listing of performances of Nielsen's works, classified by region (Denmark, Scandinavia, Europe apart from Scandinavia and outside Europe) which demonstrates that his music is regularly performed throughout the world. The concerti and symphonies feature frequently in these listings.
The Carl Nielsen International Competition commenced in the 1970s under the auspices of the Odense Symphony Orchestra. A four-yearly violin competition has been held there since 1980. Flute and clarinet competitions were later added, but these have now been discontinued. An international Organ Competition, founded by the city of Odense, became associated with the Nielsen competition in 2009, but from 2015 will be organized separately, based in Odense Cathedral.

Question: What is the name of the person that taught Rudolph Simonsen?
Answer: Nielsen
From 1916, Nielsen taught at the Royal Academy where he became director in 1931, shortly before his death. He also had private students in his earlier days in order to supplement his income. As a result of his teaching, Nielsen has exerted considerable influence on classical music in Denmark. Among his most successful pupils were the composers Thorvald Aagaard, remembered in particular for his songs, Harald Agersnap, both a conductor and orchestral composer, and Jørgen Bentzon who composed choral and chamber music mainly for his folk music school (Københavns Folkemusikskole). Among his other students were the musicologist Knud Jeppesen, the pianist Herman Koppel, the academy professor and symphony composer Poul Schierbeck, the organist Emilius Bangert who played at Roskilde Cathedral, and Nancy Dalberg, one of Nielsen's private students who helped with the orchestration of Aladdin. Nielsen also instructed the conductor and choirmaster Mogens Wöldike, remembered for his interpretations of Baroque music, and Rudolph Simonsen, the pianist and composer who became director of the Academy after Nielsen's death.The Carl Nielsen Society maintains a listing of performances of Nielsen's works, classified by region (Denmark, Scandinavia, Europe apart from Scandinavia and outside Europe) which demonstrates that his music is regularly performed throughout the world. The concerti and symphonies feature frequently in these listings.
The Carl Nielsen International Competition commenced in the 1970s under the auspices of the Odense Symphony Orchestra. A four-yearly violin competition has been held there since 1980. Flute and clarinet competitions were later added, but these have now been discontinued. An international Organ Competition, founded by the city of Odense, became associated with the Nielsen competition in 2009, but from 2015 will be organized separately, based in Odense Cathedral.

Question: What is the last name of the person whose music is regularly performed throughout the world?
Answer: Nielsen
From 1916, Nielsen taught at the Royal Academy where he became director in 1931, shortly before his death. He also had private students in his earlier days in order to supplement his income. As a result of his teaching, Nielsen has exerted considerable influence on classical music in Denmark. Among his most successful pupils were the composers Thorvald Aagaard, remembered in particular for his songs, Harald Agersnap, both a conductor and orchestral composer, and Jørgen Bentzon who composed choral and chamber music mainly for his folk music school (Københavns Folkemusikskole). Among his other students were the musicologist Knud Jeppesen, the pianist Herman Koppel, the academy professor and symphony composer Poul Schierbeck, the organist Emilius Bangert who played at Roskilde Cathedral, and Nancy Dalberg, one of Nielsen's private students who helped with the orchestration of Aladdin. Nielsen also instructed the conductor and choirmaster Mogens Wöldike, remembered for his interpretations of Baroque music, and Rudolph Simonsen, the pianist and composer who became director of the Academy after Nielsen's death.The Carl Nielsen Society maintains a listing of performances of Nielsen's works, classified by region (Denmark, Scandinavia, Europe apart from Scandinavia and outside Europe) which demonstrates that his music is regularly performed throughout the world. The concerti and symphonies feature frequently in these listings.
The Carl Nielsen International Competition commenced in the 1970s under the auspices of the Odense Symphony Orchestra. A four-yearly violin competition has been held there since 1980. Flute and clarinet competitions were later added, but these have now been discontinued. An international Organ Competition, founded by the city of Odense, became associated with the Nielsen competition in 2009, but from 2015 will be organized separately, based in Odense Cathedral.

Question: What competion had flute and clarinet competitions were later added, but these have now been discontinued
Answer: The Carl Nielsen International Competition
Monte Beragon, the second husband of Mildred Pierce, is shot. The police tell Mildred that the murderer is her first husband, Bert Pierce, after he is interrogated and confesses to the crime. Mildred protests that he is too kind and gentle to commit murder, and reveals her life story to the investigating officer in flashback.
Mildred and Bert are unhappily married. Mildred must bake and sell pies and cakes to support the family after Bert splits with his business partner, Wally Fay. Bert bitterly accuses Mildred of favoring their daughters, especially Veda, over him. Their quarrel intensifies after a phone call from Bert's mistress, Maggie Biederhof, and they decide to separate.
Mildred retains custody of her two daughters, the 16-year-old Veda, a bratty social climber and aspiring pianist, and 10-year-old Kay, a tomboy. Mildred's principal goal is to provide material possessions for Veda, who longs for a social status above that of her family and is ashamed of her mother's work as a baker. When Mildred is forced to take a job as a waitress, she tries to hide the fact from Veda, but Veda learns the truth and treats her mother with derision.
Mildred meets Monte Beragon, a Pasadena society playboy and heir whose inheritance is almost depleted. Beragon owns the building that Mildred wants to purchase for a restaurant, and he pursues a romantic interest in her. While the two are at his beach house during a weekend jaunt, Kay contracts pneumonia and dies after a trip with Veda and Bert. Mildred channels her grief into work and throws herself into opening a new restaurant. With the help of her friend and former supervisor, Ida Corwin, Mildred's restaurant is a success. Wally helps Mildred buy the property, and soon she owns a chain of restaurants throughout Southern California.

Question: What is the full name of the person whose first husband murdered her second husband?
Answer: Mildred Pierce
Monte Beragon, the second husband of Mildred Pierce, is shot. The police tell Mildred that the murderer is her first husband, Bert Pierce, after he is interrogated and confesses to the crime. Mildred protests that he is too kind and gentle to commit murder, and reveals her life story to the investigating officer in flashback.
Mildred and Bert are unhappily married. Mildred must bake and sell pies and cakes to support the family after Bert splits with his business partner, Wally Fay. Bert bitterly accuses Mildred of favoring their daughters, especially Veda, over him. Their quarrel intensifies after a phone call from Bert's mistress, Maggie Biederhof, and they decide to separate.
Mildred retains custody of her two daughters, the 16-year-old Veda, a bratty social climber and aspiring pianist, and 10-year-old Kay, a tomboy. Mildred's principal goal is to provide material possessions for Veda, who longs for a social status above that of her family and is ashamed of her mother's work as a baker. When Mildred is forced to take a job as a waitress, she tries to hide the fact from Veda, but Veda learns the truth and treats her mother with derision.
Mildred meets Monte Beragon, a Pasadena society playboy and heir whose inheritance is almost depleted. Beragon owns the building that Mildred wants to purchase for a restaurant, and he pursues a romantic interest in her. While the two are at his beach house during a weekend jaunt, Kay contracts pneumonia and dies after a trip with Veda and Bert. Mildred channels her grief into work and throws herself into opening a new restaurant. With the help of her friend and former supervisor, Ida Corwin, Mildred's restaurant is a success. Wally helps Mildred buy the property, and soon she owns a chain of restaurants throughout Southern California.

Question: What is the first name of the person whose first husband murdered her second husband?
Answer: Mildred
Monte Beragon, the second husband of Mildred Pierce, is shot. The police tell Mildred that the murderer is her first husband, Bert Pierce, after he is interrogated and confesses to the crime. Mildred protests that he is too kind and gentle to commit murder, and reveals her life story to the investigating officer in flashback.
Mildred and Bert are unhappily married. Mildred must bake and sell pies and cakes to support the family after Bert splits with his business partner, Wally Fay. Bert bitterly accuses Mildred of favoring their daughters, especially Veda, over him. Their quarrel intensifies after a phone call from Bert's mistress, Maggie Biederhof, and they decide to separate.
Mildred retains custody of her two daughters, the 16-year-old Veda, a bratty social climber and aspiring pianist, and 10-year-old Kay, a tomboy. Mildred's principal goal is to provide material possessions for Veda, who longs for a social status above that of her family and is ashamed of her mother's work as a baker. When Mildred is forced to take a job as a waitress, she tries to hide the fact from Veda, but Veda learns the truth and treats her mother with derision.
Mildred meets Monte Beragon, a Pasadena society playboy and heir whose inheritance is almost depleted. Beragon owns the building that Mildred wants to purchase for a restaurant, and he pursues a romantic interest in her. While the two are at his beach house during a weekend jaunt, Kay contracts pneumonia and dies after a trip with Veda and Bert. Mildred channels her grief into work and throws herself into opening a new restaurant. With the help of her friend and former supervisor, Ida Corwin, Mildred's restaurant is a success. Wally helps Mildred buy the property, and soon she owns a chain of restaurants throughout Southern California.

Question: What is the last name of the person Bert killed?
Answer: Beragon
Monte Beragon, the second husband of Mildred Pierce, is shot. The police tell Mildred that the murderer is her first husband, Bert Pierce, after he is interrogated and confesses to the crime. Mildred protests that he is too kind and gentle to commit murder, and reveals her life story to the investigating officer in flashback.
Mildred and Bert are unhappily married. Mildred must bake and sell pies and cakes to support the family after Bert splits with his business partner, Wally Fay. Bert bitterly accuses Mildred of favoring their daughters, especially Veda, over him. Their quarrel intensifies after a phone call from Bert's mistress, Maggie Biederhof, and they decide to separate.
Mildred retains custody of her two daughters, the 16-year-old Veda, a bratty social climber and aspiring pianist, and 10-year-old Kay, a tomboy. Mildred's principal goal is to provide material possessions for Veda, who longs for a social status above that of her family and is ashamed of her mother's work as a baker. When Mildred is forced to take a job as a waitress, she tries to hide the fact from Veda, but Veda learns the truth and treats her mother with derision.
Mildred meets Monte Beragon, a Pasadena society playboy and heir whose inheritance is almost depleted. Beragon owns the building that Mildred wants to purchase for a restaurant, and he pursues a romantic interest in her. While the two are at his beach house during a weekend jaunt, Kay contracts pneumonia and dies after a trip with Veda and Bert. Mildred channels her grief into work and throws herself into opening a new restaurant. With the help of her friend and former supervisor, Ida Corwin, Mildred's restaurant is a success. Wally helps Mildred buy the property, and soon she owns a chain of restaurants throughout Southern California.

Question: What are the full names of the people who were married to Mildred?
Answer: Monte Beragon, Bert Pierce