nc33/multispan_quoref huggingface dataset:
About to nervously jump off a bridge, scrawny Harry Berlin is a barely functional human being. Just as he attempts to leap off the bridge, he is distracted by Milt Manville, an old friend from fifteen years ago. Harry doesn't really recognize him at first but there appears to be a contrast between the two of them with Milt boasting of how well he is doing in life while Harry tries to listen.
Milt takes Harry to his house to meet Ellen Manville (Elaine May), Milt's long-suffering wife. She is complaining that their sex life is non-existent but Milt has a secret lover in the form of beautiful blonde Linda. Milt convinces a barely-there Harry to make a go of things with Ellen so that she is not left lonely when he will divorce her for Linda. It takes a while but Harry and Ellen eventually fall in love. They marry and go to Niagara Falls for their honeymoon but this is when Ellen realizes that Harry is the world's worst roommate and childish at heart. In one example, Harry unexpectedly stomps on Ellen's toe in order to test her love for him.  As she hobbles in pain, she asks, "What did you do that for?," and in response, he asks her if she still loves him, and she says she does.
As Milt and Linda start to settle down as a couple, she quickly realizes that he has an addiction to selling household items and junk for a quick buck, something that she is strongly against. She immediately dumps him, which leads to Milt to want Ellen back when he realizes how much he loves her for real. She admits that she doesn't really love Harry as much as she thought, as his bizarre day-to-day activities get to her. Milt and Ellen plot to get back together and convince Harry to divorce her but he loves her and sets out to prove it by getting a job as an elevator operator in a shopping mall.

Question: What's the first name of the person that the beautiful blonde has an affair with?
Answer: Milt
About to nervously jump off a bridge, scrawny Harry Berlin is a barely functional human being. Just as he attempts to leap off the bridge, he is distracted by Milt Manville, an old friend from fifteen years ago. Harry doesn't really recognize him at first but there appears to be a contrast between the two of them with Milt boasting of how well he is doing in life while Harry tries to listen.
Milt takes Harry to his house to meet Ellen Manville (Elaine May), Milt's long-suffering wife. She is complaining that their sex life is non-existent but Milt has a secret lover in the form of beautiful blonde Linda. Milt convinces a barely-there Harry to make a go of things with Ellen so that she is not left lonely when he will divorce her for Linda. It takes a while but Harry and Ellen eventually fall in love. They marry and go to Niagara Falls for their honeymoon but this is when Ellen realizes that Harry is the world's worst roommate and childish at heart. In one example, Harry unexpectedly stomps on Ellen's toe in order to test her love for him.  As she hobbles in pain, she asks, "What did you do that for?," and in response, he asks her if she still loves him, and she says she does.
As Milt and Linda start to settle down as a couple, she quickly realizes that he has an addiction to selling household items and junk for a quick buck, something that she is strongly against. She immediately dumps him, which leads to Milt to want Ellen back when he realizes how much he loves her for real. She admits that she doesn't really love Harry as much as she thought, as his bizarre day-to-day activities get to her. Milt and Ellen plot to get back together and convince Harry to divorce her but he loves her and sets out to prove it by getting a job as an elevator operator in a shopping mall.

Question: Who does Milt hook up his wife with?
Answer: Harry
About to nervously jump off a bridge, scrawny Harry Berlin is a barely functional human being. Just as he attempts to leap off the bridge, he is distracted by Milt Manville, an old friend from fifteen years ago. Harry doesn't really recognize him at first but there appears to be a contrast between the two of them with Milt boasting of how well he is doing in life while Harry tries to listen.
Milt takes Harry to his house to meet Ellen Manville (Elaine May), Milt's long-suffering wife. She is complaining that their sex life is non-existent but Milt has a secret lover in the form of beautiful blonde Linda. Milt convinces a barely-there Harry to make a go of things with Ellen so that she is not left lonely when he will divorce her for Linda. It takes a while but Harry and Ellen eventually fall in love. They marry and go to Niagara Falls for their honeymoon but this is when Ellen realizes that Harry is the world's worst roommate and childish at heart. In one example, Harry unexpectedly stomps on Ellen's toe in order to test her love for him.  As she hobbles in pain, she asks, "What did you do that for?," and in response, he asks her if she still loves him, and she says she does.
As Milt and Linda start to settle down as a couple, she quickly realizes that he has an addiction to selling household items and junk for a quick buck, something that she is strongly against. She immediately dumps him, which leads to Milt to want Ellen back when he realizes how much he loves her for real. She admits that she doesn't really love Harry as much as she thought, as his bizarre day-to-day activities get to her. Milt and Ellen plot to get back together and convince Harry to divorce her but he loves her and sets out to prove it by getting a job as an elevator operator in a shopping mall.

Question: What's the full name of the person who leaves his wife for a beautiful blonde?
Answer: Milt Manville
While Raff was able to offer "practical suggestions [in orchestration] which were of great value to Liszt", there may have been "a basic misunderstanding" of the nature of their collaboration. Liszt wanted to learn more about instrumentation and acknowledged Raff's greater expertise in this area. Hence, he gave Raff piano sketches to orchestrate, just as he had done earlier with Conradi—"so that he might rehearse them, reflect on them, and then, as his confidence in the orchestra grew, change them." Raff disagreed, having the impression that Liszt wanted him on equal terms as a full collaborator. While attending an 1850 rehearsal of Prometheus, he told Bernhard Cossmann, who sat next to him, "Listen to the instrumentation. It is by me."Raff continued making such claims about his role in Liszt's compositional process. Some of these accounts, published posthumously by Die Musik in 1902 and 1903, suggest that he was an equal collaborator with Liszt. Raff's assertions were supported by Joachim, who had been active in Weimar at approximately the same time as Raff. Walker writes that Joachim later recalled to Raff's widow "that he had seen Raff 'produce full orchestral scores from piano sketches.'" Joachim also told Raff's biographer Andreas Moser that "the E-flat-major Piano Concerto was orchestrated from beginning to end by Raff." Raff's and Joachim's statements effectively questioned the authorship of Liszt's orchestral music, especially the symphonic poems. This speculation was debased when composer and Liszt scholar Peter Raabe carefully compared all sketches then known of Liszt's orchestral works with the published versions of the same works. Raabe demonstrated that, regardless of the position with first drafts, or of how much assistance Liszt may have received from Raff or Conradi at that point, every note of the final versions represents Liszt's intentions.

Question: What is the last name of the person who gave piano sketches to orchestrate to Conradi?
Answer: Liszt
While Raff was able to offer "practical suggestions [in orchestration] which were of great value to Liszt", there may have been "a basic misunderstanding" of the nature of their collaboration. Liszt wanted to learn more about instrumentation and acknowledged Raff's greater expertise in this area. Hence, he gave Raff piano sketches to orchestrate, just as he had done earlier with Conradi—"so that he might rehearse them, reflect on them, and then, as his confidence in the orchestra grew, change them." Raff disagreed, having the impression that Liszt wanted him on equal terms as a full collaborator. While attending an 1850 rehearsal of Prometheus, he told Bernhard Cossmann, who sat next to him, "Listen to the instrumentation. It is by me."Raff continued making such claims about his role in Liszt's compositional process. Some of these accounts, published posthumously by Die Musik in 1902 and 1903, suggest that he was an equal collaborator with Liszt. Raff's assertions were supported by Joachim, who had been active in Weimar at approximately the same time as Raff. Walker writes that Joachim later recalled to Raff's widow "that he had seen Raff 'produce full orchestral scores from piano sketches.'" Joachim also told Raff's biographer Andreas Moser that "the E-flat-major Piano Concerto was orchestrated from beginning to end by Raff." Raff's and Joachim's statements effectively questioned the authorship of Liszt's orchestral music, especially the symphonic poems. This speculation was debased when composer and Liszt scholar Peter Raabe carefully compared all sketches then known of Liszt's orchestral works with the published versions of the same works. Raabe demonstrated that, regardless of the position with first drafts, or of how much assistance Liszt may have received from Raff or Conradi at that point, every note of the final versions represents Liszt's intentions.

Question: What are the last names of the people Liszt gave piano sketches to orchestrate?
Answer: Raff, Conradi
While Raff was able to offer "practical suggestions [in orchestration] which were of great value to Liszt", there may have been "a basic misunderstanding" of the nature of their collaboration. Liszt wanted to learn more about instrumentation and acknowledged Raff's greater expertise in this area. Hence, he gave Raff piano sketches to orchestrate, just as he had done earlier with Conradi—"so that he might rehearse them, reflect on them, and then, as his confidence in the orchestra grew, change them." Raff disagreed, having the impression that Liszt wanted him on equal terms as a full collaborator. While attending an 1850 rehearsal of Prometheus, he told Bernhard Cossmann, who sat next to him, "Listen to the instrumentation. It is by me."Raff continued making such claims about his role in Liszt's compositional process. Some of these accounts, published posthumously by Die Musik in 1902 and 1903, suggest that he was an equal collaborator with Liszt. Raff's assertions were supported by Joachim, who had been active in Weimar at approximately the same time as Raff. Walker writes that Joachim later recalled to Raff's widow "that he had seen Raff 'produce full orchestral scores from piano sketches.'" Joachim also told Raff's biographer Andreas Moser that "the E-flat-major Piano Concerto was orchestrated from beginning to end by Raff." Raff's and Joachim's statements effectively questioned the authorship of Liszt's orchestral music, especially the symphonic poems. This speculation was debased when composer and Liszt scholar Peter Raabe carefully compared all sketches then known of Liszt's orchestral works with the published versions of the same works. Raabe demonstrated that, regardless of the position with first drafts, or of how much assistance Liszt may have received from Raff or Conradi at that point, every note of the final versions represents Liszt's intentions.

Question: What is the last name of the person who sat next to Bernhard?
Answer: Raff
While Raff was able to offer "practical suggestions [in orchestration] which were of great value to Liszt", there may have been "a basic misunderstanding" of the nature of their collaboration. Liszt wanted to learn more about instrumentation and acknowledged Raff's greater expertise in this area. Hence, he gave Raff piano sketches to orchestrate, just as he had done earlier with Conradi—"so that he might rehearse them, reflect on them, and then, as his confidence in the orchestra grew, change them." Raff disagreed, having the impression that Liszt wanted him on equal terms as a full collaborator. While attending an 1850 rehearsal of Prometheus, he told Bernhard Cossmann, who sat next to him, "Listen to the instrumentation. It is by me."Raff continued making such claims about his role in Liszt's compositional process. Some of these accounts, published posthumously by Die Musik in 1902 and 1903, suggest that he was an equal collaborator with Liszt. Raff's assertions were supported by Joachim, who had been active in Weimar at approximately the same time as Raff. Walker writes that Joachim later recalled to Raff's widow "that he had seen Raff 'produce full orchestral scores from piano sketches.'" Joachim also told Raff's biographer Andreas Moser that "the E-flat-major Piano Concerto was orchestrated from beginning to end by Raff." Raff's and Joachim's statements effectively questioned the authorship of Liszt's orchestral music, especially the symphonic poems. This speculation was debased when composer and Liszt scholar Peter Raabe carefully compared all sketches then known of Liszt's orchestral works with the published versions of the same works. Raabe demonstrated that, regardless of the position with first drafts, or of how much assistance Liszt may have received from Raff or Conradi at that point, every note of the final versions represents Liszt's intentions.

Question: What is the last name of the person whose accounts were published posthumously?
Answer: Raff
While Raff was able to offer "practical suggestions [in orchestration] which were of great value to Liszt", there may have been "a basic misunderstanding" of the nature of their collaboration. Liszt wanted to learn more about instrumentation and acknowledged Raff's greater expertise in this area. Hence, he gave Raff piano sketches to orchestrate, just as he had done earlier with Conradi—"so that he might rehearse them, reflect on them, and then, as his confidence in the orchestra grew, change them." Raff disagreed, having the impression that Liszt wanted him on equal terms as a full collaborator. While attending an 1850 rehearsal of Prometheus, he told Bernhard Cossmann, who sat next to him, "Listen to the instrumentation. It is by me."Raff continued making such claims about his role in Liszt's compositional process. Some of these accounts, published posthumously by Die Musik in 1902 and 1903, suggest that he was an equal collaborator with Liszt. Raff's assertions were supported by Joachim, who had been active in Weimar at approximately the same time as Raff. Walker writes that Joachim later recalled to Raff's widow "that he had seen Raff 'produce full orchestral scores from piano sketches.'" Joachim also told Raff's biographer Andreas Moser that "the E-flat-major Piano Concerto was orchestrated from beginning to end by Raff." Raff's and Joachim's statements effectively questioned the authorship of Liszt's orchestral music, especially the symphonic poems. This speculation was debased when composer and Liszt scholar Peter Raabe carefully compared all sketches then known of Liszt's orchestral works with the published versions of the same works. Raabe demonstrated that, regardless of the position with first drafts, or of how much assistance Liszt may have received from Raff or Conradi at that point, every note of the final versions represents Liszt's intentions.

Question: What is the last name of the person whose posthumously published accounts suggested he was a full collaborator?
Answer: Raff
While Raff was able to offer "practical suggestions [in orchestration] which were of great value to Liszt", there may have been "a basic misunderstanding" of the nature of their collaboration. Liszt wanted to learn more about instrumentation and acknowledged Raff's greater expertise in this area. Hence, he gave Raff piano sketches to orchestrate, just as he had done earlier with Conradi—"so that he might rehearse them, reflect on them, and then, as his confidence in the orchestra grew, change them." Raff disagreed, having the impression that Liszt wanted him on equal terms as a full collaborator. While attending an 1850 rehearsal of Prometheus, he told Bernhard Cossmann, who sat next to him, "Listen to the instrumentation. It is by me."Raff continued making such claims about his role in Liszt's compositional process. Some of these accounts, published posthumously by Die Musik in 1902 and 1903, suggest that he was an equal collaborator with Liszt. Raff's assertions were supported by Joachim, who had been active in Weimar at approximately the same time as Raff. Walker writes that Joachim later recalled to Raff's widow "that he had seen Raff 'produce full orchestral scores from piano sketches.'" Joachim also told Raff's biographer Andreas Moser that "the E-flat-major Piano Concerto was orchestrated from beginning to end by Raff." Raff's and Joachim's statements effectively questioned the authorship of Liszt's orchestral music, especially the symphonic poems. This speculation was debased when composer and Liszt scholar Peter Raabe carefully compared all sketches then known of Liszt's orchestral works with the published versions of the same works. Raabe demonstrated that, regardless of the position with first drafts, or of how much assistance Liszt may have received from Raff or Conradi at that point, every note of the final versions represents Liszt's intentions.

Question: What is the first name of the person who determined that every note of the final versions represents Liszt's intentions?
Answer: Peter
While Raff was able to offer "practical suggestions [in orchestration] which were of great value to Liszt", there may have been "a basic misunderstanding" of the nature of their collaboration. Liszt wanted to learn more about instrumentation and acknowledged Raff's greater expertise in this area. Hence, he gave Raff piano sketches to orchestrate, just as he had done earlier with Conradi—"so that he might rehearse them, reflect on them, and then, as his confidence in the orchestra grew, change them." Raff disagreed, having the impression that Liszt wanted him on equal terms as a full collaborator. While attending an 1850 rehearsal of Prometheus, he told Bernhard Cossmann, who sat next to him, "Listen to the instrumentation. It is by me."Raff continued making such claims about his role in Liszt's compositional process. Some of these accounts, published posthumously by Die Musik in 1902 and 1903, suggest that he was an equal collaborator with Liszt. Raff's assertions were supported by Joachim, who had been active in Weimar at approximately the same time as Raff. Walker writes that Joachim later recalled to Raff's widow "that he had seen Raff 'produce full orchestral scores from piano sketches.'" Joachim also told Raff's biographer Andreas Moser that "the E-flat-major Piano Concerto was orchestrated from beginning to end by Raff." Raff's and Joachim's statements effectively questioned the authorship of Liszt's orchestral music, especially the symphonic poems. This speculation was debased when composer and Liszt scholar Peter Raabe carefully compared all sketches then known of Liszt's orchestral works with the published versions of the same works. Raabe demonstrated that, regardless of the position with first drafts, or of how much assistance Liszt may have received from Raff or Conradi at that point, every note of the final versions represents Liszt's intentions.

Question: What is the name of the person who gave Raff piano sketches to orchestrate?
Answer: Liszt
While Raff was able to offer "practical suggestions [in orchestration] which were of great value to Liszt", there may have been "a basic misunderstanding" of the nature of their collaboration. Liszt wanted to learn more about instrumentation and acknowledged Raff's greater expertise in this area. Hence, he gave Raff piano sketches to orchestrate, just as he had done earlier with Conradi—"so that he might rehearse them, reflect on them, and then, as his confidence in the orchestra grew, change them." Raff disagreed, having the impression that Liszt wanted him on equal terms as a full collaborator. While attending an 1850 rehearsal of Prometheus, he told Bernhard Cossmann, who sat next to him, "Listen to the instrumentation. It is by me."Raff continued making such claims about his role in Liszt's compositional process. Some of these accounts, published posthumously by Die Musik in 1902 and 1903, suggest that he was an equal collaborator with Liszt. Raff's assertions were supported by Joachim, who had been active in Weimar at approximately the same time as Raff. Walker writes that Joachim later recalled to Raff's widow "that he had seen Raff 'produce full orchestral scores from piano sketches.'" Joachim also told Raff's biographer Andreas Moser that "the E-flat-major Piano Concerto was orchestrated from beginning to end by Raff." Raff's and Joachim's statements effectively questioned the authorship of Liszt's orchestral music, especially the symphonic poems. This speculation was debased when composer and Liszt scholar Peter Raabe carefully compared all sketches then known of Liszt's orchestral works with the published versions of the same works. Raabe demonstrated that, regardless of the position with first drafts, or of how much assistance Liszt may have received from Raff or Conradi at that point, every note of the final versions represents Liszt's intentions.

Question: What is the name of the person who sat next to Bernhard Cossmann while attending an 1850 rehearsal of Prometheus?
Answer: Raff
While Raff was able to offer "practical suggestions [in orchestration] which were of great value to Liszt", there may have been "a basic misunderstanding" of the nature of their collaboration. Liszt wanted to learn more about instrumentation and acknowledged Raff's greater expertise in this area. Hence, he gave Raff piano sketches to orchestrate, just as he had done earlier with Conradi—"so that he might rehearse them, reflect on them, and then, as his confidence in the orchestra grew, change them." Raff disagreed, having the impression that Liszt wanted him on equal terms as a full collaborator. While attending an 1850 rehearsal of Prometheus, he told Bernhard Cossmann, who sat next to him, "Listen to the instrumentation. It is by me."Raff continued making such claims about his role in Liszt's compositional process. Some of these accounts, published posthumously by Die Musik in 1902 and 1903, suggest that he was an equal collaborator with Liszt. Raff's assertions were supported by Joachim, who had been active in Weimar at approximately the same time as Raff. Walker writes that Joachim later recalled to Raff's widow "that he had seen Raff 'produce full orchestral scores from piano sketches.'" Joachim also told Raff's biographer Andreas Moser that "the E-flat-major Piano Concerto was orchestrated from beginning to end by Raff." Raff's and Joachim's statements effectively questioned the authorship of Liszt's orchestral music, especially the symphonic poems. This speculation was debased when composer and Liszt scholar Peter Raabe carefully compared all sketches then known of Liszt's orchestral works with the published versions of the same works. Raabe demonstrated that, regardless of the position with first drafts, or of how much assistance Liszt may have received from Raff or Conradi at that point, every note of the final versions represents Liszt's intentions.

Question: What is the name of the person who told Bernhard Cossmann to "listen to the instrumentation" and claimed it was his own?
Answer: Raff
While Raff was able to offer "practical suggestions [in orchestration] which were of great value to Liszt", there may have been "a basic misunderstanding" of the nature of their collaboration. Liszt wanted to learn more about instrumentation and acknowledged Raff's greater expertise in this area. Hence, he gave Raff piano sketches to orchestrate, just as he had done earlier with Conradi—"so that he might rehearse them, reflect on them, and then, as his confidence in the orchestra grew, change them." Raff disagreed, having the impression that Liszt wanted him on equal terms as a full collaborator. While attending an 1850 rehearsal of Prometheus, he told Bernhard Cossmann, who sat next to him, "Listen to the instrumentation. It is by me."Raff continued making such claims about his role in Liszt's compositional process. Some of these accounts, published posthumously by Die Musik in 1902 and 1903, suggest that he was an equal collaborator with Liszt. Raff's assertions were supported by Joachim, who had been active in Weimar at approximately the same time as Raff. Walker writes that Joachim later recalled to Raff's widow "that he had seen Raff 'produce full orchestral scores from piano sketches.'" Joachim also told Raff's biographer Andreas Moser that "the E-flat-major Piano Concerto was orchestrated from beginning to end by Raff." Raff's and Joachim's statements effectively questioned the authorship of Liszt's orchestral music, especially the symphonic poems. This speculation was debased when composer and Liszt scholar Peter Raabe carefully compared all sketches then known of Liszt's orchestral works with the published versions of the same works. Raabe demonstrated that, regardless of the position with first drafts, or of how much assistance Liszt may have received from Raff or Conradi at that point, every note of the final versions represents Liszt's intentions.

Question: What is the name of the person suggested to be an equal collaborator with Liszt according to some accounts published posthumously by Die Musik?
Answer: Raff
While Raff was able to offer "practical suggestions [in orchestration] which were of great value to Liszt", there may have been "a basic misunderstanding" of the nature of their collaboration. Liszt wanted to learn more about instrumentation and acknowledged Raff's greater expertise in this area. Hence, he gave Raff piano sketches to orchestrate, just as he had done earlier with Conradi—"so that he might rehearse them, reflect on them, and then, as his confidence in the orchestra grew, change them." Raff disagreed, having the impression that Liszt wanted him on equal terms as a full collaborator. While attending an 1850 rehearsal of Prometheus, he told Bernhard Cossmann, who sat next to him, "Listen to the instrumentation. It is by me."Raff continued making such claims about his role in Liszt's compositional process. Some of these accounts, published posthumously by Die Musik in 1902 and 1903, suggest that he was an equal collaborator with Liszt. Raff's assertions were supported by Joachim, who had been active in Weimar at approximately the same time as Raff. Walker writes that Joachim later recalled to Raff's widow "that he had seen Raff 'produce full orchestral scores from piano sketches.'" Joachim also told Raff's biographer Andreas Moser that "the E-flat-major Piano Concerto was orchestrated from beginning to end by Raff." Raff's and Joachim's statements effectively questioned the authorship of Liszt's orchestral music, especially the symphonic poems. This speculation was debased when composer and Liszt scholar Peter Raabe carefully compared all sketches then known of Liszt's orchestral works with the published versions of the same works. Raabe demonstrated that, regardless of the position with first drafts, or of how much assistance Liszt may have received from Raff or Conradi at that point, every note of the final versions represents Liszt's intentions.

Question: What is the name of the person who had earlier given Conradi piano sketches to illustrate?
Answer: Liszt
Liszt provided written prefaces for nine of his symphonic poems. His doing so, Alan Walker states, "was a reflection of the historical position in which he found himself." Liszt was aware these musical works would be experienced not just by select connoisseurs, as might have been the case in previous generations, but also by the general public. In addition, he knew about the public's fondness for attaching stories to instrumental music, regardless of their source, their relevance to a musical composition or whether the composer had actually sanctioned them. Therefore, in a pre-emptive gesture, Liszt provided context before others could invent one to take its place. Liszt may have also felt that since many of these works were written in new forms, some sort of verbal or written explanation would be welcome to explain their shape.These prefaces have proven atypical in a couple of ways. For one, they do not spell out a specific, step-by-step scenario that the music would follow but rather a general context. Some of them, in fact, are little more than autobiographical asides on what inspired Liszt to compose a piece or what feelings he was trying to inspire through it. While these insights could prove "both useful and interesting" in themselves, Walker admits, will they aid listeners to "pictorialize the music that follows?" For Liszt, Walker concludes, the "pictorialization of a detailed program is simply not an issue." Moreover, Liszt wrote these prefaces long after he had composed the music. This was the complete opposite of other composers, who wrote their music to fit a pre-existing program. For both these reasons, Walker suggests, Liszt's prefaces could be called "programmes about music" with equal logic or validity. He adds that the prefaces might not have entirely been of Liszt's idea or doing, since evidence exists that his then-companion Princess Carolyne zu Sayn-Wittgenstein helped shape or create them.Overall, Walker concludes, "Posterity may have overestimated the importance of extra-musical thought in Liszt's symphonic poems. We would not want to be without his prefaces, of course, nor any other that he made about the origins of his music; but we should not follow them slavishly, for the simple reason that the symphonic poems do not follow them slavishly either." Hugh MacDonald concurs that Liszt "held an idealized view of the symphonic poem" as being evocative rather than representational. "He only rarely achieved in his symphonic poems the directness and subtle timing that narrative requires," MacDonald explains; he generally focused more on expressing poetic ideas by setting a mood or atmosphere, refraining on the whole from narrative description or pictorial realism.

Question: What two groups of people was Liszt aware of that his musical works would be experienced by?
Answer: select connoisseurs, general public
Liszt provided written prefaces for nine of his symphonic poems. His doing so, Alan Walker states, "was a reflection of the historical position in which he found himself." Liszt was aware these musical works would be experienced not just by select connoisseurs, as might have been the case in previous generations, but also by the general public. In addition, he knew about the public's fondness for attaching stories to instrumental music, regardless of their source, their relevance to a musical composition or whether the composer had actually sanctioned them. Therefore, in a pre-emptive gesture, Liszt provided context before others could invent one to take its place. Liszt may have also felt that since many of these works were written in new forms, some sort of verbal or written explanation would be welcome to explain their shape.These prefaces have proven atypical in a couple of ways. For one, they do not spell out a specific, step-by-step scenario that the music would follow but rather a general context. Some of them, in fact, are little more than autobiographical asides on what inspired Liszt to compose a piece or what feelings he was trying to inspire through it. While these insights could prove "both useful and interesting" in themselves, Walker admits, will they aid listeners to "pictorialize the music that follows?" For Liszt, Walker concludes, the "pictorialization of a detailed program is simply not an issue." Moreover, Liszt wrote these prefaces long after he had composed the music. This was the complete opposite of other composers, who wrote their music to fit a pre-existing program. For both these reasons, Walker suggests, Liszt's prefaces could be called "programmes about music" with equal logic or validity. He adds that the prefaces might not have entirely been of Liszt's idea or doing, since evidence exists that his then-companion Princess Carolyne zu Sayn-Wittgenstein helped shape or create them.Overall, Walker concludes, "Posterity may have overestimated the importance of extra-musical thought in Liszt's symphonic poems. We would not want to be without his prefaces, of course, nor any other that he made about the origins of his music; but we should not follow them slavishly, for the simple reason that the symphonic poems do not follow them slavishly either." Hugh MacDonald concurs that Liszt "held an idealized view of the symphonic poem" as being evocative rather than representational. "He only rarely achieved in his symphonic poems the directness and subtle timing that narrative requires," MacDonald explains; he generally focused more on expressing poetic ideas by setting a mood or atmosphere, refraining on the whole from narrative description or pictorial realism.

Question: What was the full name of the person who helped Liszt shape his ideas?
Answer: Princess Carolyne zu Sayn-Wittgenstein
Liszt provided written prefaces for nine of his symphonic poems. His doing so, Alan Walker states, "was a reflection of the historical position in which he found himself." Liszt was aware these musical works would be experienced not just by select connoisseurs, as might have been the case in previous generations, but also by the general public. In addition, he knew about the public's fondness for attaching stories to instrumental music, regardless of their source, their relevance to a musical composition or whether the composer had actually sanctioned them. Therefore, in a pre-emptive gesture, Liszt provided context before others could invent one to take its place. Liszt may have also felt that since many of these works were written in new forms, some sort of verbal or written explanation would be welcome to explain their shape.These prefaces have proven atypical in a couple of ways. For one, they do not spell out a specific, step-by-step scenario that the music would follow but rather a general context. Some of them, in fact, are little more than autobiographical asides on what inspired Liszt to compose a piece or what feelings he was trying to inspire through it. While these insights could prove "both useful and interesting" in themselves, Walker admits, will they aid listeners to "pictorialize the music that follows?" For Liszt, Walker concludes, the "pictorialization of a detailed program is simply not an issue." Moreover, Liszt wrote these prefaces long after he had composed the music. This was the complete opposite of other composers, who wrote their music to fit a pre-existing program. For both these reasons, Walker suggests, Liszt's prefaces could be called "programmes about music" with equal logic or validity. He adds that the prefaces might not have entirely been of Liszt's idea or doing, since evidence exists that his then-companion Princess Carolyne zu Sayn-Wittgenstein helped shape or create them.Overall, Walker concludes, "Posterity may have overestimated the importance of extra-musical thought in Liszt's symphonic poems. We would not want to be without his prefaces, of course, nor any other that he made about the origins of his music; but we should not follow them slavishly, for the simple reason that the symphonic poems do not follow them slavishly either." Hugh MacDonald concurs that Liszt "held an idealized view of the symphonic poem" as being evocative rather than representational. "He only rarely achieved in his symphonic poems the directness and subtle timing that narrative requires," MacDonald explains; he generally focused more on expressing poetic ideas by setting a mood or atmosphere, refraining on the whole from narrative description or pictorial realism.

Question: What was the last name of the person who said that Liszt held an idealized view of the symphonic poem?
Answer: MacDonald
With the exception of Les préludes, none of the symphonic poems have entered the standard repertoire, though critics suggest that the best of them—Prometheus, Hamlet and Orpheus—are worth further listening. Musicologist Hugh MacDonald writes, "Unequal in scope and achievement though they are, they looked forward at times to more modern developments and sowed the seeds of a rich crop of music in the two succeeding generations." Speaking of the genre itself, MacDonald adds that, although the symphonic poem is related to opera in its aesthetics, it effectively supplanted opera and sung music by becoming "the most sophisticated development of programme music in the history of the genre." Liszt authority Humphrey Searle essentially concurs with MacDonald, writing that Liszt "wished to expound philosophical and humanistic ideas which were of the greatest importance to him." These ideas were not only connected with Liszt's personal problems as an artist, but they also coincided with explicit problems being addressed by writers and painters of the era.In developing the symphonic poem, Liszt "satisfied three of the principal aspirations of 19th century music: to relate music to the world outside, to integrate multi-movement forms ... and to elevate instrumental programme music to a level higher than that of opera, the genre previously regarded as the highest mode of musical expression." In fulfilling these needs, the symphonic poems played a major role, widening the scope and expressive power of the advanced music of its time. According to music historian Alan Walker, "Their historical importance is undeniable; both Sibelius and Richard Strauss were influenced by them, and adapted and developed the genre in their own way. For all their faults, these pieces offer many examples of the pioneering spirit for which Liszt is celebrated."

Question: What did Alan Walker say had influenced Sibelius and Richard Strauss?
Answer: symphonic poems
Patsy Douglas comes up with an ingenious way to get a seat on the crowded New York subway: she pretends to have a baby, using a doll discarded by the advertising agency where she works. One day, however, her agency's primary client, short-tempered Cyrus Baxter, happens to be seated beside her. (His chauffeur had abruptly quit after Baxter berated him for getting stuck in a traffic jam.) He is delighted when he overhears that she named her "child" Cyrus after him. He becomes acquainted with her, letting her assume that he works for Baxter as a watchman.
Later, when the agency's two bosses, Sam Morley and Barry Holmes see Baxter to try to get him to sign a contract for a new advertising campaign, he insists they keep her happy, to their puzzlement. Morley and Holmes discover that she has been fired; they quickly hire her back and promote her from her secretarial duties.
Meanwhile, Baxter keeps seeing Patsy, trying to help her with his namesake. She manages to maintain her charade, but Morley sees them together and assumes that she is Baxter's mistress. Patsy discovers her new friend's identity when her bosses send her to present their latest idea. Meanwhile, Baxter's temper improves under Patsy's influence.
When Morley and Holmes finally learn the truth, Patsy wants to confess all to Baxter, but they insist she carry on the masquerade until they get his signature on the contract. She reluctantly agrees, after they point out that they will probably have to close if they do not get Baxter's business, throwing hundreds out of work.
When Morley shows Baxter a photograph of the baby (actually a picture of his partner as a child), Baxter notices a resemblance to Holmes and assumes he is the father. To placate him, Morley arranges for Holmes to start dating Patsy. In the process, however, he becomes jealous, having fallen in love without realizing it.

Question: What is the last name of the person who named their fake child Cyrus?
Answer: Douglas
Patsy Douglas comes up with an ingenious way to get a seat on the crowded New York subway: she pretends to have a baby, using a doll discarded by the advertising agency where she works. One day, however, her agency's primary client, short-tempered Cyrus Baxter, happens to be seated beside her. (His chauffeur had abruptly quit after Baxter berated him for getting stuck in a traffic jam.) He is delighted when he overhears that she named her "child" Cyrus after him. He becomes acquainted with her, letting her assume that he works for Baxter as a watchman.
Later, when the agency's two bosses, Sam Morley and Barry Holmes see Baxter to try to get him to sign a contract for a new advertising campaign, he insists they keep her happy, to their puzzlement. Morley and Holmes discover that she has been fired; they quickly hire her back and promote her from her secretarial duties.
Meanwhile, Baxter keeps seeing Patsy, trying to help her with his namesake. She manages to maintain her charade, but Morley sees them together and assumes that she is Baxter's mistress. Patsy discovers her new friend's identity when her bosses send her to present their latest idea. Meanwhile, Baxter's temper improves under Patsy's influence.
When Morley and Holmes finally learn the truth, Patsy wants to confess all to Baxter, but they insist she carry on the masquerade until they get his signature on the contract. She reluctantly agrees, after they point out that they will probably have to close if they do not get Baxter's business, throwing hundreds out of work.
When Morley shows Baxter a photograph of the baby (actually a picture of his partner as a child), Baxter notices a resemblance to Holmes and assumes he is the father. To placate him, Morley arranges for Holmes to start dating Patsy. In the process, however, he becomes jealous, having fallen in love without realizing it.

Question: What is the full name of the person who has a fake child?
Answer: Patsy Douglas
Patsy Douglas comes up with an ingenious way to get a seat on the crowded New York subway: she pretends to have a baby, using a doll discarded by the advertising agency where she works. One day, however, her agency's primary client, short-tempered Cyrus Baxter, happens to be seated beside her. (His chauffeur had abruptly quit after Baxter berated him for getting stuck in a traffic jam.) He is delighted when he overhears that she named her "child" Cyrus after him. He becomes acquainted with her, letting her assume that he works for Baxter as a watchman.
Later, when the agency's two bosses, Sam Morley and Barry Holmes see Baxter to try to get him to sign a contract for a new advertising campaign, he insists they keep her happy, to their puzzlement. Morley and Holmes discover that she has been fired; they quickly hire her back and promote her from her secretarial duties.
Meanwhile, Baxter keeps seeing Patsy, trying to help her with his namesake. She manages to maintain her charade, but Morley sees them together and assumes that she is Baxter's mistress. Patsy discovers her new friend's identity when her bosses send her to present their latest idea. Meanwhile, Baxter's temper improves under Patsy's influence.
When Morley and Holmes finally learn the truth, Patsy wants to confess all to Baxter, but they insist she carry on the masquerade until they get his signature on the contract. She reluctantly agrees, after they point out that they will probably have to close if they do not get Baxter's business, throwing hundreds out of work.
When Morley shows Baxter a photograph of the baby (actually a picture of his partner as a child), Baxter notices a resemblance to Holmes and assumes he is the father. To placate him, Morley arranges for Holmes to start dating Patsy. In the process, however, he becomes jealous, having fallen in love without realizing it.

Question: What is the full name of the person who works for Sam and Barry?
Answer: Patsy Douglas
Patsy Douglas comes up with an ingenious way to get a seat on the crowded New York subway: she pretends to have a baby, using a doll discarded by the advertising agency where she works. One day, however, her agency's primary client, short-tempered Cyrus Baxter, happens to be seated beside her. (His chauffeur had abruptly quit after Baxter berated him for getting stuck in a traffic jam.) He is delighted when he overhears that she named her "child" Cyrus after him. He becomes acquainted with her, letting her assume that he works for Baxter as a watchman.
Later, when the agency's two bosses, Sam Morley and Barry Holmes see Baxter to try to get him to sign a contract for a new advertising campaign, he insists they keep her happy, to their puzzlement. Morley and Holmes discover that she has been fired; they quickly hire her back and promote her from her secretarial duties.
Meanwhile, Baxter keeps seeing Patsy, trying to help her with his namesake. She manages to maintain her charade, but Morley sees them together and assumes that she is Baxter's mistress. Patsy discovers her new friend's identity when her bosses send her to present their latest idea. Meanwhile, Baxter's temper improves under Patsy's influence.
When Morley and Holmes finally learn the truth, Patsy wants to confess all to Baxter, but they insist she carry on the masquerade until they get his signature on the contract. She reluctantly agrees, after they point out that they will probably have to close if they do not get Baxter's business, throwing hundreds out of work.
When Morley shows Baxter a photograph of the baby (actually a picture of his partner as a child), Baxter notices a resemblance to Holmes and assumes he is the father. To placate him, Morley arranges for Holmes to start dating Patsy. In the process, however, he becomes jealous, having fallen in love without realizing it.

Question: What is the first name of the person Cyrus believes is the father of the baby?
Answer: Barry
In 1948, Frank Wheeler meets April at a party. He is a longshoreman, hoping to be a cashier; she wants to be an actress. Frank later secures a sales position with Knox Machines, for which his father worked for 20 years, and he and April marry. The Wheelers move to 115 Revolutionary Road in suburban Connecticut when April becomes pregnant.
The couple becomes close friends with their realtor Helen Givings and her husband Howard Givings, and neighbor Milly Campbell and her husband Shep. To their friends, the Wheelers are the perfect couple, but their relationship is troubled. April fails to make a career out of acting, while Frank hates the tedium of his work. On his 30th birthday, Frank invites a secretary at work to have a drink with him at a bar.  She accepts, gets tipsy, and they end up having sex in a hotel. Meanwhile, Helen has asked April if they will meet her son, John, who had been in an insane asylum.  She thinks the younger couple may be able to help her son with his condition. April accepts.
April wants new scenery and a chance to support the family so Frank can find his passion, so she suggests that they move to Paris to start a new life away from the "hopeless emptiness" of their repetitive lifestyle. Frank balks at the idea at first, but becomes convinced. Over the next several weeks, the Wheelers tell their various friends about their plans to live in Paris, but surprisingly, the only person who seems to comprehend their decision is John.
As the couple prepares to move, they are forced to reconsider. Frank is offered a promotion, and April becomes pregnant again. When Frank discovers she is contemplating having an abortion, he is furious and starts screaming at April, leading to a serious altercation, in which April says that they had their second child only to prove the first child was not a "mistake".

Question: What is the name of the person who wants to be an actress?
Answer: April