nc33/multispan_quoref huggingface dataset:
Alan Dudley Bush (22 December 1900 – 31 October 1995) was a British composer, pianist, conductor, teacher and political activist. A committed communist, his uncompromising political beliefs were often reflected in his music. He composed prolifically across a range of genres, but struggled through his lifetime for recognition from the British musical establishment, which largely ignored his works.
Bush, from a prosperous middle-class background, enjoyed considerable success as a student at the Royal Academy of Music (RAM) in the early 1920s, and spent much of that decade furthering his compositional and piano-playing skills under distinguished tutors. A two-year period in Berlin in 1929 to 1931, early in the Nazi Party's rise to power, cemented Bush's political convictions and moved him from the mainstream Labour Party to the Communist Party of Great Britain which he joined in 1935. He wrote several large-scale works in the 1930s, and was heavily involved with workers' choirs for whom he composed pageants, choruses and songs. His pro-Soviet stance led to a temporary ban on his music by the BBC in the early years of the Second World War, and his refusal to modify his position in the postwar Cold War era led to a more prolonged semi-ostracism of his music. As  a result, the four major operas he wrote between 1950 and 1970 were all premiered in East Germany.
In his prewar works, Bush's style retained what commentators have described as an essential Englishness, but was also influenced by the avant-garde European idioms of the inter-war years. During and after the war he began to simplify this style, in line with his Marxism-inspired belief that music should be accessible to the mass of the people. Despite the difficulties he encountered in getting his works performed in the West he continued to compose until well into his eighties. He taught composition at the RAM for more than 50 years, published two books, was the founder and long-time president of the Workers' Music Association, and served as chairman and later vice-president of the Composers' Guild of Great Britain. His contribution to musical life was slowly recognised, in the form of doctorates from two universities and numerous tribute concerts towards the end of his life. Since his death aged 94 in 1995, his musical legacy has been nurtured by the Alan Bush Music Trust, established in 1997.

Question: What is the last name of the person who wrote several large-scale works in the 1930s?
Answer: Bush
Alan Dudley Bush (22 December 1900 – 31 October 1995) was a British composer, pianist, conductor, teacher and political activist. A committed communist, his uncompromising political beliefs were often reflected in his music. He composed prolifically across a range of genres, but struggled through his lifetime for recognition from the British musical establishment, which largely ignored his works.
Bush, from a prosperous middle-class background, enjoyed considerable success as a student at the Royal Academy of Music (RAM) in the early 1920s, and spent much of that decade furthering his compositional and piano-playing skills under distinguished tutors. A two-year period in Berlin in 1929 to 1931, early in the Nazi Party's rise to power, cemented Bush's political convictions and moved him from the mainstream Labour Party to the Communist Party of Great Britain which he joined in 1935. He wrote several large-scale works in the 1930s, and was heavily involved with workers' choirs for whom he composed pageants, choruses and songs. His pro-Soviet stance led to a temporary ban on his music by the BBC in the early years of the Second World War, and his refusal to modify his position in the postwar Cold War era led to a more prolonged semi-ostracism of his music. As  a result, the four major operas he wrote between 1950 and 1970 were all premiered in East Germany.
In his prewar works, Bush's style retained what commentators have described as an essential Englishness, but was also influenced by the avant-garde European idioms of the inter-war years. During and after the war he began to simplify this style, in line with his Marxism-inspired belief that music should be accessible to the mass of the people. Despite the difficulties he encountered in getting his works performed in the West he continued to compose until well into his eighties. He taught composition at the RAM for more than 50 years, published two books, was the founder and long-time president of the Workers' Music Association, and served as chairman and later vice-president of the Composers' Guild of Great Britain. His contribution to musical life was slowly recognised, in the form of doctorates from two universities and numerous tribute concerts towards the end of his life. Since his death aged 94 in 1995, his musical legacy has been nurtured by the Alan Bush Music Trust, established in 1997.

Question: What is the last name of the person who was heavily involved with workers' choirs for whom he composed pageants, choruses and songs?
Answer: Bush
Alan Dudley Bush (22 December 1900 – 31 October 1995) was a British composer, pianist, conductor, teacher and political activist. A committed communist, his uncompromising political beliefs were often reflected in his music. He composed prolifically across a range of genres, but struggled through his lifetime for recognition from the British musical establishment, which largely ignored his works.
Bush, from a prosperous middle-class background, enjoyed considerable success as a student at the Royal Academy of Music (RAM) in the early 1920s, and spent much of that decade furthering his compositional and piano-playing skills under distinguished tutors. A two-year period in Berlin in 1929 to 1931, early in the Nazi Party's rise to power, cemented Bush's political convictions and moved him from the mainstream Labour Party to the Communist Party of Great Britain which he joined in 1935. He wrote several large-scale works in the 1930s, and was heavily involved with workers' choirs for whom he composed pageants, choruses and songs. His pro-Soviet stance led to a temporary ban on his music by the BBC in the early years of the Second World War, and his refusal to modify his position in the postwar Cold War era led to a more prolonged semi-ostracism of his music. As  a result, the four major operas he wrote between 1950 and 1970 were all premiered in East Germany.
In his prewar works, Bush's style retained what commentators have described as an essential Englishness, but was also influenced by the avant-garde European idioms of the inter-war years. During and after the war he began to simplify this style, in line with his Marxism-inspired belief that music should be accessible to the mass of the people. Despite the difficulties he encountered in getting his works performed in the West he continued to compose until well into his eighties. He taught composition at the RAM for more than 50 years, published two books, was the founder and long-time president of the Workers' Music Association, and served as chairman and later vice-president of the Composers' Guild of Great Britain. His contribution to musical life was slowly recognised, in the form of doctorates from two universities and numerous tribute concerts towards the end of his life. Since his death aged 94 in 1995, his musical legacy has been nurtured by the Alan Bush Music Trust, established in 1997.

Question: What is the last name of the person whose pro-Soviet stance led to a temporary ban on his music by the BBC?
Answer: Bush
Alan Dudley Bush (22 December 1900 – 31 October 1995) was a British composer, pianist, conductor, teacher and political activist. A committed communist, his uncompromising political beliefs were often reflected in his music. He composed prolifically across a range of genres, but struggled through his lifetime for recognition from the British musical establishment, which largely ignored his works.
Bush, from a prosperous middle-class background, enjoyed considerable success as a student at the Royal Academy of Music (RAM) in the early 1920s, and spent much of that decade furthering his compositional and piano-playing skills under distinguished tutors. A two-year period in Berlin in 1929 to 1931, early in the Nazi Party's rise to power, cemented Bush's political convictions and moved him from the mainstream Labour Party to the Communist Party of Great Britain which he joined in 1935. He wrote several large-scale works in the 1930s, and was heavily involved with workers' choirs for whom he composed pageants, choruses and songs. His pro-Soviet stance led to a temporary ban on his music by the BBC in the early years of the Second World War, and his refusal to modify his position in the postwar Cold War era led to a more prolonged semi-ostracism of his music. As  a result, the four major operas he wrote between 1950 and 1970 were all premiered in East Germany.
In his prewar works, Bush's style retained what commentators have described as an essential Englishness, but was also influenced by the avant-garde European idioms of the inter-war years. During and after the war he began to simplify this style, in line with his Marxism-inspired belief that music should be accessible to the mass of the people. Despite the difficulties he encountered in getting his works performed in the West he continued to compose until well into his eighties. He taught composition at the RAM for more than 50 years, published two books, was the founder and long-time president of the Workers' Music Association, and served as chairman and later vice-president of the Composers' Guild of Great Britain. His contribution to musical life was slowly recognised, in the form of doctorates from two universities and numerous tribute concerts towards the end of his life. Since his death aged 94 in 1995, his musical legacy has been nurtured by the Alan Bush Music Trust, established in 1997.

Question: What is the last name of the person whose refusal to modify their position in the postwar Cold War era led to a more prolonged semi-ostracism of his music?
Answer: Bush
Alan Dudley Bush (22 December 1900 – 31 October 1995) was a British composer, pianist, conductor, teacher and political activist. A committed communist, his uncompromising political beliefs were often reflected in his music. He composed prolifically across a range of genres, but struggled through his lifetime for recognition from the British musical establishment, which largely ignored his works.
Bush, from a prosperous middle-class background, enjoyed considerable success as a student at the Royal Academy of Music (RAM) in the early 1920s, and spent much of that decade furthering his compositional and piano-playing skills under distinguished tutors. A two-year period in Berlin in 1929 to 1931, early in the Nazi Party's rise to power, cemented Bush's political convictions and moved him from the mainstream Labour Party to the Communist Party of Great Britain which he joined in 1935. He wrote several large-scale works in the 1930s, and was heavily involved with workers' choirs for whom he composed pageants, choruses and songs. His pro-Soviet stance led to a temporary ban on his music by the BBC in the early years of the Second World War, and his refusal to modify his position in the postwar Cold War era led to a more prolonged semi-ostracism of his music. As  a result, the four major operas he wrote between 1950 and 1970 were all premiered in East Germany.
In his prewar works, Bush's style retained what commentators have described as an essential Englishness, but was also influenced by the avant-garde European idioms of the inter-war years. During and after the war he began to simplify this style, in line with his Marxism-inspired belief that music should be accessible to the mass of the people. Despite the difficulties he encountered in getting his works performed in the West he continued to compose until well into his eighties. He taught composition at the RAM for more than 50 years, published two books, was the founder and long-time president of the Workers' Music Association, and served as chairman and later vice-president of the Composers' Guild of Great Britain. His contribution to musical life was slowly recognised, in the form of doctorates from two universities and numerous tribute concerts towards the end of his life. Since his death aged 94 in 1995, his musical legacy has been nurtured by the Alan Bush Music Trust, established in 1997.

Question: What is the last name of the person who wrote four major operas between 1950 and 1970?
Answer: Bush
Alan Dudley Bush (22 December 1900 – 31 October 1995) was a British composer, pianist, conductor, teacher and political activist. A committed communist, his uncompromising political beliefs were often reflected in his music. He composed prolifically across a range of genres, but struggled through his lifetime for recognition from the British musical establishment, which largely ignored his works.
Bush, from a prosperous middle-class background, enjoyed considerable success as a student at the Royal Academy of Music (RAM) in the early 1920s, and spent much of that decade furthering his compositional and piano-playing skills under distinguished tutors. A two-year period in Berlin in 1929 to 1931, early in the Nazi Party's rise to power, cemented Bush's political convictions and moved him from the mainstream Labour Party to the Communist Party of Great Britain which he joined in 1935. He wrote several large-scale works in the 1930s, and was heavily involved with workers' choirs for whom he composed pageants, choruses and songs. His pro-Soviet stance led to a temporary ban on his music by the BBC in the early years of the Second World War, and his refusal to modify his position in the postwar Cold War era led to a more prolonged semi-ostracism of his music. As  a result, the four major operas he wrote between 1950 and 1970 were all premiered in East Germany.
In his prewar works, Bush's style retained what commentators have described as an essential Englishness, but was also influenced by the avant-garde European idioms of the inter-war years. During and after the war he began to simplify this style, in line with his Marxism-inspired belief that music should be accessible to the mass of the people. Despite the difficulties he encountered in getting his works performed in the West he continued to compose until well into his eighties. He taught composition at the RAM for more than 50 years, published two books, was the founder and long-time president of the Workers' Music Association, and served as chairman and later vice-president of the Composers' Guild of Great Britain. His contribution to musical life was slowly recognised, in the form of doctorates from two universities and numerous tribute concerts towards the end of his life. Since his death aged 94 in 1995, his musical legacy has been nurtured by the Alan Bush Music Trust, established in 1997.

Question: What is the last name of the person who simplified their style during and after the war?
Answer: Bush
Alan Dudley Bush (22 December 1900 – 31 October 1995) was a British composer, pianist, conductor, teacher and political activist. A committed communist, his uncompromising political beliefs were often reflected in his music. He composed prolifically across a range of genres, but struggled through his lifetime for recognition from the British musical establishment, which largely ignored his works.
Bush, from a prosperous middle-class background, enjoyed considerable success as a student at the Royal Academy of Music (RAM) in the early 1920s, and spent much of that decade furthering his compositional and piano-playing skills under distinguished tutors. A two-year period in Berlin in 1929 to 1931, early in the Nazi Party's rise to power, cemented Bush's political convictions and moved him from the mainstream Labour Party to the Communist Party of Great Britain which he joined in 1935. He wrote several large-scale works in the 1930s, and was heavily involved with workers' choirs for whom he composed pageants, choruses and songs. His pro-Soviet stance led to a temporary ban on his music by the BBC in the early years of the Second World War, and his refusal to modify his position in the postwar Cold War era led to a more prolonged semi-ostracism of his music. As  a result, the four major operas he wrote between 1950 and 1970 were all premiered in East Germany.
In his prewar works, Bush's style retained what commentators have described as an essential Englishness, but was also influenced by the avant-garde European idioms of the inter-war years. During and after the war he began to simplify this style, in line with his Marxism-inspired belief that music should be accessible to the mass of the people. Despite the difficulties he encountered in getting his works performed in the West he continued to compose until well into his eighties. He taught composition at the RAM for more than 50 years, published two books, was the founder and long-time president of the Workers' Music Association, and served as chairman and later vice-president of the Composers' Guild of Great Britain. His contribution to musical life was slowly recognised, in the form of doctorates from two universities and numerous tribute concerts towards the end of his life. Since his death aged 94 in 1995, his musical legacy has been nurtured by the Alan Bush Music Trust, established in 1997.

Question: What is the last name of the person whose uncompromising political beliefs were often reflected in his music?
Answer: Bush
Alan Dudley Bush (22 December 1900 – 31 October 1995) was a British composer, pianist, conductor, teacher and political activist. A committed communist, his uncompromising political beliefs were often reflected in his music. He composed prolifically across a range of genres, but struggled through his lifetime for recognition from the British musical establishment, which largely ignored his works.
Bush, from a prosperous middle-class background, enjoyed considerable success as a student at the Royal Academy of Music (RAM) in the early 1920s, and spent much of that decade furthering his compositional and piano-playing skills under distinguished tutors. A two-year period in Berlin in 1929 to 1931, early in the Nazi Party's rise to power, cemented Bush's political convictions and moved him from the mainstream Labour Party to the Communist Party of Great Britain which he joined in 1935. He wrote several large-scale works in the 1930s, and was heavily involved with workers' choirs for whom he composed pageants, choruses and songs. His pro-Soviet stance led to a temporary ban on his music by the BBC in the early years of the Second World War, and his refusal to modify his position in the postwar Cold War era led to a more prolonged semi-ostracism of his music. As  a result, the four major operas he wrote between 1950 and 1970 were all premiered in East Germany.
In his prewar works, Bush's style retained what commentators have described as an essential Englishness, but was also influenced by the avant-garde European idioms of the inter-war years. During and after the war he began to simplify this style, in line with his Marxism-inspired belief that music should be accessible to the mass of the people. Despite the difficulties he encountered in getting his works performed in the West he continued to compose until well into his eighties. He taught composition at the RAM for more than 50 years, published two books, was the founder and long-time president of the Workers' Music Association, and served as chairman and later vice-president of the Composers' Guild of Great Britain. His contribution to musical life was slowly recognised, in the form of doctorates from two universities and numerous tribute concerts towards the end of his life. Since his death aged 94 in 1995, his musical legacy has been nurtured by the Alan Bush Music Trust, established in 1997.

Question: What is the last name of the person who struggled through his lifetime for recognition from the British musical establishment?
Answer: Bush
Alan Dudley Bush (22 December 1900 – 31 October 1995) was a British composer, pianist, conductor, teacher and political activist. A committed communist, his uncompromising political beliefs were often reflected in his music. He composed prolifically across a range of genres, but struggled through his lifetime for recognition from the British musical establishment, which largely ignored his works.
Bush, from a prosperous middle-class background, enjoyed considerable success as a student at the Royal Academy of Music (RAM) in the early 1920s, and spent much of that decade furthering his compositional and piano-playing skills under distinguished tutors. A two-year period in Berlin in 1929 to 1931, early in the Nazi Party's rise to power, cemented Bush's political convictions and moved him from the mainstream Labour Party to the Communist Party of Great Britain which he joined in 1935. He wrote several large-scale works in the 1930s, and was heavily involved with workers' choirs for whom he composed pageants, choruses and songs. His pro-Soviet stance led to a temporary ban on his music by the BBC in the early years of the Second World War, and his refusal to modify his position in the postwar Cold War era led to a more prolonged semi-ostracism of his music. As  a result, the four major operas he wrote between 1950 and 1970 were all premiered in East Germany.
In his prewar works, Bush's style retained what commentators have described as an essential Englishness, but was also influenced by the avant-garde European idioms of the inter-war years. During and after the war he began to simplify this style, in line with his Marxism-inspired belief that music should be accessible to the mass of the people. Despite the difficulties he encountered in getting his works performed in the West he continued to compose until well into his eighties. He taught composition at the RAM for more than 50 years, published two books, was the founder and long-time president of the Workers' Music Association, and served as chairman and later vice-president of the Composers' Guild of Great Britain. His contribution to musical life was slowly recognised, in the form of doctorates from two universities and numerous tribute concerts towards the end of his life. Since his death aged 94 in 1995, his musical legacy has been nurtured by the Alan Bush Music Trust, established in 1997.

Question: What is the last name of the person whose refusal to modify his position in the postwar Cold War era led to a more prolonged semi-ostracism of his music?
Answer: Bush
Alan Dudley Bush (22 December 1900 – 31 October 1995) was a British composer, pianist, conductor, teacher and political activist. A committed communist, his uncompromising political beliefs were often reflected in his music. He composed prolifically across a range of genres, but struggled through his lifetime for recognition from the British musical establishment, which largely ignored his works.
Bush, from a prosperous middle-class background, enjoyed considerable success as a student at the Royal Academy of Music (RAM) in the early 1920s, and spent much of that decade furthering his compositional and piano-playing skills under distinguished tutors. A two-year period in Berlin in 1929 to 1931, early in the Nazi Party's rise to power, cemented Bush's political convictions and moved him from the mainstream Labour Party to the Communist Party of Great Britain which he joined in 1935. He wrote several large-scale works in the 1930s, and was heavily involved with workers' choirs for whom he composed pageants, choruses and songs. His pro-Soviet stance led to a temporary ban on his music by the BBC in the early years of the Second World War, and his refusal to modify his position in the postwar Cold War era led to a more prolonged semi-ostracism of his music. As  a result, the four major operas he wrote between 1950 and 1970 were all premiered in East Germany.
In his prewar works, Bush's style retained what commentators have described as an essential Englishness, but was also influenced by the avant-garde European idioms of the inter-war years. During and after the war he began to simplify this style, in line with his Marxism-inspired belief that music should be accessible to the mass of the people. Despite the difficulties he encountered in getting his works performed in the West he continued to compose until well into his eighties. He taught composition at the RAM for more than 50 years, published two books, was the founder and long-time president of the Workers' Music Association, and served as chairman and later vice-president of the Composers' Guild of Great Britain. His contribution to musical life was slowly recognised, in the form of doctorates from two universities and numerous tribute concerts towards the end of his life. Since his death aged 94 in 1995, his musical legacy has been nurtured by the Alan Bush Music Trust, established in 1997.

Question: What is the last name of the person who began to simply his style during and after the war?
Answer: Bush
At the RAM, Bush studied composition under Frederick Corder and piano with Tobias Matthay.  He made rapid progress, and won various scholarships and awards, including the Thalberg Scholarship,  the Phillimore piano prize, and a Carnegie award for composition.  He produced the first compositions of his formal canon: Three Pieces for Two Pianos, Op. 1, and Piano Sonata in B minor, Op. 2,  and also made his first attempt to write opera – a scene from Bulwer Lytton's novel The Last Days of Pompeii, with a libretto by his brother Brinsley. The work, with Bush at the piano, received a single private performance  with family members and friends forming the cast. The manuscript was later destroyed by Bush.Among Bush's fellow students was Michael Head. The two became friends, as a result of which Bush met Head's 14-year-old sister Nancy.   In 1931, ten years after their first meeting,  Bush and Nancy would marry and begin a lifelong artistic partnership in which she became Bush's principal librettist, as well as providing the texts for many of his other vocal works. 
In 1922 Bush graduated from the RAM, but continued to study composition privately  under John Ireland, with whom he formed an enduring friendship.    In 1925 Bush was appointed to a  teaching post at the RAM, as a professor of harmony and composition, under terms that gave him scope to continue with his studies and to travel. He began to study piano under Benno Moiseiwitsch, from whom he learned the Leschetizky method. In 1926 he made his first of numerous visits to Berlin, where with the violinist Florence Lockwood he gave two concerts of contemporary, mainly British, music which included his own Phantasy in C minor, Op. 3. The skill of the performers was admired by the critics more than the quality of the music. In 1928 Bush returned to Berlin,   to perform with the Brosa Quartet at the Bechstein Hall, in a concert of his own music which included the premieres of the chamber work Five Pieces, Op. 6  and the piano solo Relinquishment, Op. 11. Critical opinion was broadly favourable, the Berliner Zeitung am Mittag correspondent noting "nothing extravagant but much of promise".Among the works composed by Bush during this period  were the Quartet for piano, violin, viola and cello, Op. 5; Prelude and Fugue for piano, Op. 9;  settings of poems by Walter de la Mare, Harold Monro and W. B. Yeats; and his first venture into orchestral music, the Symphonic Impressions of 1926–27, Op. 8. In early 1929 he completed one of his best-known early chamber works, the string quartet Dialectic, Op. 15, which helped to establish Bush's reputation abroad when it was performed at a Prague festival in the 1930s.

Question: What is the name of the person that won the Thalberg Scholarship?
Answer: Bush
At the RAM, Bush studied composition under Frederick Corder and piano with Tobias Matthay.  He made rapid progress, and won various scholarships and awards, including the Thalberg Scholarship,  the Phillimore piano prize, and a Carnegie award for composition.  He produced the first compositions of his formal canon: Three Pieces for Two Pianos, Op. 1, and Piano Sonata in B minor, Op. 2,  and also made his first attempt to write opera – a scene from Bulwer Lytton's novel The Last Days of Pompeii, with a libretto by his brother Brinsley. The work, with Bush at the piano, received a single private performance  with family members and friends forming the cast. The manuscript was later destroyed by Bush.Among Bush's fellow students was Michael Head. The two became friends, as a result of which Bush met Head's 14-year-old sister Nancy.   In 1931, ten years after their first meeting,  Bush and Nancy would marry and begin a lifelong artistic partnership in which she became Bush's principal librettist, as well as providing the texts for many of his other vocal works. 
In 1922 Bush graduated from the RAM, but continued to study composition privately  under John Ireland, with whom he formed an enduring friendship.    In 1925 Bush was appointed to a  teaching post at the RAM, as a professor of harmony and composition, under terms that gave him scope to continue with his studies and to travel. He began to study piano under Benno Moiseiwitsch, from whom he learned the Leschetizky method. In 1926 he made his first of numerous visits to Berlin, where with the violinist Florence Lockwood he gave two concerts of contemporary, mainly British, music which included his own Phantasy in C minor, Op. 3. The skill of the performers was admired by the critics more than the quality of the music. In 1928 Bush returned to Berlin,   to perform with the Brosa Quartet at the Bechstein Hall, in a concert of his own music which included the premieres of the chamber work Five Pieces, Op. 6  and the piano solo Relinquishment, Op. 11. Critical opinion was broadly favourable, the Berliner Zeitung am Mittag correspondent noting "nothing extravagant but much of promise".Among the works composed by Bush during this period  were the Quartet for piano, violin, viola and cello, Op. 5; Prelude and Fugue for piano, Op. 9;  settings of poems by Walter de la Mare, Harold Monro and W. B. Yeats; and his first venture into orchestral music, the Symphonic Impressions of 1926–27, Op. 8. In early 1929 he completed one of his best-known early chamber works, the string quartet Dialectic, Op. 15, which helped to establish Bush's reputation abroad when it was performed at a Prague festival in the 1930s.

Question: What is the name of the person that won the Phillimore piano prize?
Answer: Bush
At the RAM, Bush studied composition under Frederick Corder and piano with Tobias Matthay.  He made rapid progress, and won various scholarships and awards, including the Thalberg Scholarship,  the Phillimore piano prize, and a Carnegie award for composition.  He produced the first compositions of his formal canon: Three Pieces for Two Pianos, Op. 1, and Piano Sonata in B minor, Op. 2,  and also made his first attempt to write opera – a scene from Bulwer Lytton's novel The Last Days of Pompeii, with a libretto by his brother Brinsley. The work, with Bush at the piano, received a single private performance  with family members and friends forming the cast. The manuscript was later destroyed by Bush.Among Bush's fellow students was Michael Head. The two became friends, as a result of which Bush met Head's 14-year-old sister Nancy.   In 1931, ten years after their first meeting,  Bush and Nancy would marry and begin a lifelong artistic partnership in which she became Bush's principal librettist, as well as providing the texts for many of his other vocal works. 
In 1922 Bush graduated from the RAM, but continued to study composition privately  under John Ireland, with whom he formed an enduring friendship.    In 1925 Bush was appointed to a  teaching post at the RAM, as a professor of harmony and composition, under terms that gave him scope to continue with his studies and to travel. He began to study piano under Benno Moiseiwitsch, from whom he learned the Leschetizky method. In 1926 he made his first of numerous visits to Berlin, where with the violinist Florence Lockwood he gave two concerts of contemporary, mainly British, music which included his own Phantasy in C minor, Op. 3. The skill of the performers was admired by the critics more than the quality of the music. In 1928 Bush returned to Berlin,   to perform with the Brosa Quartet at the Bechstein Hall, in a concert of his own music which included the premieres of the chamber work Five Pieces, Op. 6  and the piano solo Relinquishment, Op. 11. Critical opinion was broadly favourable, the Berliner Zeitung am Mittag correspondent noting "nothing extravagant but much of promise".Among the works composed by Bush during this period  were the Quartet for piano, violin, viola and cello, Op. 5; Prelude and Fugue for piano, Op. 9;  settings of poems by Walter de la Mare, Harold Monro and W. B. Yeats; and his first venture into orchestral music, the Symphonic Impressions of 1926–27, Op. 8. In early 1929 he completed one of his best-known early chamber works, the string quartet Dialectic, Op. 15, which helped to establish Bush's reputation abroad when it was performed at a Prague festival in the 1930s.

Question: What is the name of the person that won the Carnegie award for composition ?
Answer: Bush
Despite undergoing various changes of emphasis, Bush's music retained a voice distinct from that of any of his contemporaries. One critic describes the typical Bush sound as "Mild dominant discords, of consonant effect, used with great originality in uncommon progressions alive with swift, purposeful harmonic movement ... except in [Benjamin] Britten they are nowhere used with more telling expression, colour and sense of movement than in Bush".John Ireland, Bush's early mentor, instilled "the sophisticated and restrained craftsmanship which marked Bush's music from the beginning",   introducing him to folksong and Palestrina, both important building blocks in the development of Bush's mature style. Daula comments that "Bush's music does not [merely] imitate the sound-world of his Renaissance predecessors", but   creates his unique fingerprint by "[juxtaposing] 16th century modal counterpoint with late- and post-romantic harmony".Bush's music, at least from the mid-1930s, often carried political overtones. His obituarist Rupert Christiansen writes that, as a principled Marxist, Bush  "put the requirements of the revolutionary proletariat at the head of the composer's responsibilities", a choice which others, such as Tippett, chose not to make.   However, Vaughan Williams thought that, despite Bush's oft-declared theories of the purposes of art and music, "when the inspiration comes over him he forgets all about this and remembers only the one eternal rule for all artists, 'To thine own self be true'."

Question: What is the last name of the person who wrote that the composer who retained a voice distinct from that of any of his contemporaries "remembers only the one eternal rule for all artists, 'To thine own self be true'."?
Answer: Williams
The postwar period also saw the beginning of Bush's 20-year involvement with grand opera, a genre in which, although he achieved little commercial recognition, he was retrospectively hailed by critics as a master of British opera second only to Britten. His first venture, Wat Tyler, was  written in a form which Bush thought acceptable to the general British public; it was not his choice, he wrote, that the opera and its successors all found their initial audiences in East Germany.  When eventually staged in Britain in 1974 the opera, although well received at Sadler's Wells, seemed somewhat old-fashioned; Philip Hope-Wallace in The Guardian thought the ending degenerated into "a choral union cantata", and found the music pleasant but not especially memorable. Bush's three other major operas were all characterised by their use of "local" music: Northumbrian folk-song in the case of Men of Blackmoor, Guyanese songs and dances in The Sugar Reapers, and American folk music in Joe Hill –  the last-named used in a manner reminiscent of Kurt Weill and the German opera with which Bush had become familiar in the  early 1930s.The extent to which Bush's music  changed substantially after the war was addressed by Meirion Bowen, reviewing a Bush concert in the 1980s. Bowen noted a distinct contrast between early and late works, the former showing primarily the influences of Ireland and of Bush's European contacts, while in the later pieces the idiom was "often overtly folklike and Vaughan Williams-ish".  In general Bush's late works continued to show all the hallmarks of his postwar oeuvre: vigour, clarity of tone and  masterful use of counterpoint. The Lascaux symphony, written when he was 83, is the composer's final major orchestral statement, and addresses deep philosophical issues relating to the origins and destiny of mankind.

Question: What is the last name of the person whose first venture was written in a form which Bush thought acceptable to the general British public?
Answer: Bush
The postwar period also saw the beginning of Bush's 20-year involvement with grand opera, a genre in which, although he achieved little commercial recognition, he was retrospectively hailed by critics as a master of British opera second only to Britten. His first venture, Wat Tyler, was  written in a form which Bush thought acceptable to the general British public; it was not his choice, he wrote, that the opera and its successors all found their initial audiences in East Germany.  When eventually staged in Britain in 1974 the opera, although well received at Sadler's Wells, seemed somewhat old-fashioned; Philip Hope-Wallace in The Guardian thought the ending degenerated into "a choral union cantata", and found the music pleasant but not especially memorable. Bush's three other major operas were all characterised by their use of "local" music: Northumbrian folk-song in the case of Men of Blackmoor, Guyanese songs and dances in The Sugar Reapers, and American folk music in Joe Hill –  the last-named used in a manner reminiscent of Kurt Weill and the German opera with which Bush had become familiar in the  early 1930s.The extent to which Bush's music  changed substantially after the war was addressed by Meirion Bowen, reviewing a Bush concert in the 1980s. Bowen noted a distinct contrast between early and late works, the former showing primarily the influences of Ireland and of Bush's European contacts, while in the later pieces the idiom was "often overtly folklike and Vaughan Williams-ish".  In general Bush's late works continued to show all the hallmarks of his postwar oeuvre: vigour, clarity of tone and  masterful use of counterpoint. The Lascaux symphony, written when he was 83, is the composer's final major orchestral statement, and addresses deep philosophical issues relating to the origins and destiny of mankind.

Question: What is the first name of the person who noted a distinct contrast between early and late works, the former showing primarily the influences of Ireland?
Answer: Meirion
The postwar period also saw the beginning of Bush's 20-year involvement with grand opera, a genre in which, although he achieved little commercial recognition, he was retrospectively hailed by critics as a master of British opera second only to Britten. His first venture, Wat Tyler, was  written in a form which Bush thought acceptable to the general British public; it was not his choice, he wrote, that the opera and its successors all found their initial audiences in East Germany.  When eventually staged in Britain in 1974 the opera, although well received at Sadler's Wells, seemed somewhat old-fashioned; Philip Hope-Wallace in The Guardian thought the ending degenerated into "a choral union cantata", and found the music pleasant but not especially memorable. Bush's three other major operas were all characterised by their use of "local" music: Northumbrian folk-song in the case of Men of Blackmoor, Guyanese songs and dances in The Sugar Reapers, and American folk music in Joe Hill –  the last-named used in a manner reminiscent of Kurt Weill and the German opera with which Bush had become familiar in the  early 1930s.The extent to which Bush's music  changed substantially after the war was addressed by Meirion Bowen, reviewing a Bush concert in the 1980s. Bowen noted a distinct contrast between early and late works, the former showing primarily the influences of Ireland and of Bush's European contacts, while in the later pieces the idiom was "often overtly folklike and Vaughan Williams-ish".  In general Bush's late works continued to show all the hallmarks of his postwar oeuvre: vigour, clarity of tone and  masterful use of counterpoint. The Lascaux symphony, written when he was 83, is the composer's final major orchestral statement, and addresses deep philosophical issues relating to the origins and destiny of mankind.

Question: What is the last name of the person whose final major orchestral statement was written when he was 83?
Answer: Bush
Bush's long career as a teacher influenced generations of English composers and performers. Tippett was never a formal pupil, but has acknowledged a deep debt to Bush.  Herbert Murrill, a pupil of Bush's at the RAM in the 1920s,   wrote in 1950 of his tutor: "[T]here is humility in his makeup, and I believe that no man can achieve greatness in the arts without humility ... To Alan Bush I owe much, not least the artistic strength and right to differ from him". Among postwar Bush students who later led distinguished careers are the composers Edward Gregson, Roger Steptoe and Michael Nyman, and the pianists John Bingham and Graham Johnson.  Through his sponsorship of the London String Quartet Bush helped launch the careers of string players such as Norbert Brainin and Emanuel Hurwitz, both of whom later achieved international recognition.Bush's music was under-represented in the concert repertoire in his lifetime, and virtually disappeared after his death. The 2000 centenary of his birth was markedly low key; the Prom season ignored him, although there was a memorial concert at the Wigmore Hall on 1 November, and a BBC broadcast of the Piano Concerto on 19 December.   The centenary, albeit  quietly observed, helped to introduce the name and music of Bush to a new generation of music lovers, and generated an increase in both performance and recordings. The centenary also heralded an awakening of scholarly interest in Bush, whose life and works were the subject of numerous PhD theses in the early 20th century. Scholars such as Paul Harper-Scott and Joanna Bullivant have obtained access to new material, including documents released since the collapse of the Soviet Union, and Bush's MI5 file.  This, says Bullivant, enables a more informed assessment of the interrelationships within  Bush's music and his communism, and of the inherent conflicting priorities.In October 1997 family members and friends founded The Alan Bush Music Trust "to promote the education and appreciation by the public in and of music and, in particular, the works of the British composer Alan Bush". The trust provides a newsletter, features news stories, promotes performances and  recordings of Bush's works, and through its website reproduces wide-ranging critical and biographical material.
It continues to monitor  concert performances of Bush's works, and other Bush-related events, at home and abroad.At the time of Bush's centenary, Martin Anderson, writing in the British Music Information Centre's newsletter, summarised Bush's compositional career:
Bush was not a natural melodist à la Dvorák, though he could produce an appealing tune when he set his mind to it. But he was a first-rate contrapuntist, and his harmonic world can glow with a rare internal warmth. It would be foolish to claim that everything he wrote was a masterpiece – and equally idiotic to turn our backs on the many outstanding scores still awaiting assiduous attention.

Question: What was founded in 1997 by family members of the man who had a long career as a teacher?
Answer: The Alan Bush Music Trust
After Minh had ordered the rebels to search the areas known to have been frequented by the Ngo family, Colonel Phạm Ngọc Thảo was informed by a captured Presidential Guard officer that the brothers had escaped through the tunnels to a refuge in Cholon. Thảo was told by Khiêm, his superior, to locate Diệm and prevent him from being killed. When Thảo arrived at Ma Tuyen's house, he phoned his superiors. Diệm and Nhu overheard him and Thơ drove them to the nearby Catholic church of St. Francis Xavier, which they had frequented over the years. Lieutenant Thơ died a few months later in a plane crash, but his diary was not found until 1970. Thơ recorded Diệm's words as they left the house of Ma Tuyen as being "I don't know whether I will live or die and I don't care, but tell Nguyễn Khánh that I have great affection for him and he should avenge me". Soon after the early morning mass was celebrated for All Souls' Day (the Catholic day of the dead) and after the congregation had left the building, the Ngô brothers walked through the shady courtyard and into the church wearing dark grey suits. It was speculated that they were recognised by an informant as they walked through the yard. Inside the church, the brothers prayed and received Communion.A few minutes later, just after 10:00, an armoured personnel carrier and two jeeps entered the narrow alcove housing the church building. Lieutenant Thơ, who had earlier urged Diệm to surrender, saying that he was sure that his uncle Đỗ Mậu, along with Đính and Khiêm, would guarantee their safety, wrote in his diary later "I consider myself responsible for having led them to their death".

Question: What are the first names of the two brothers who escaped through the tunnels to a refuge in Cholon?
Answer: Diệm, Nhu
After Minh had ordered the rebels to search the areas known to have been frequented by the Ngo family, Colonel Phạm Ngọc Thảo was informed by a captured Presidential Guard officer that the brothers had escaped through the tunnels to a refuge in Cholon. Thảo was told by Khiêm, his superior, to locate Diệm and prevent him from being killed. When Thảo arrived at Ma Tuyen's house, he phoned his superiors. Diệm and Nhu overheard him and Thơ drove them to the nearby Catholic church of St. Francis Xavier, which they had frequented over the years. Lieutenant Thơ died a few months later in a plane crash, but his diary was not found until 1970. Thơ recorded Diệm's words as they left the house of Ma Tuyen as being "I don't know whether I will live or die and I don't care, but tell Nguyễn Khánh that I have great affection for him and he should avenge me". Soon after the early morning mass was celebrated for All Souls' Day (the Catholic day of the dead) and after the congregation had left the building, the Ngô brothers walked through the shady courtyard and into the church wearing dark grey suits. It was speculated that they were recognised by an informant as they walked through the yard. Inside the church, the brothers prayed and received Communion.A few minutes later, just after 10:00, an armoured personnel carrier and two jeeps entered the narrow alcove housing the church building. Lieutenant Thơ, who had earlier urged Diệm to surrender, saying that he was sure that his uncle Đỗ Mậu, along with Đính and Khiêm, would guarantee their safety, wrote in his diary later "I consider myself responsible for having led them to their death".

Question: What are the first names of the two brothers who walked through the shady courtyard and into the church soon after the early morning mass was celebrated for All Soul's Day?
Answer: Diệm, Nhu