nc33/multispan_quoref huggingface dataset:
Apart from a single early work for unaccompanied choir ("Chanson à boire", 1922), Poulenc began writing choral music in 1936. In that year he produced three works for choir: Sept chansons (settings of verses by Éluard and others), Petites voix (for children's voices), and his religious work Litanies à la Vierge Noire, for female or children's voices and organ. The Mass in G major (1937) for unaccompanied choir is described by Gouverné as having something of a baroque style, with "vitality and joyful clamour on which his faith is writ large". Poulenc's new-found religious theme continued with Quatre motets pour un temps de pénitence (1938–39), but among his most important choral works is the secular cantata Figure humaine (1943). Like the Mass, it is unaccompanied, and to succeed in performance it requires singers of the highest quality. Other a cappella works include the Quatre motets pour le temps de Noël (1952), which make severe demands on choirs' rhythmic precision and intonation.Poulenc's major works for choir and orchestra are the Stabat Mater (1950), the Gloria (1959–60), and Sept répons des ténèbres (Seven responsories for Tenebrae, 1961–62). All these works are based on liturgical texts, originally set to Gregorian chant. In the Gloria, Poulenc's faith expresses itself in an exuberant, joyful way, with intervals of prayerful calm and mystic feeling, and an ending of serene tranquillity. Poulenc wrote to Bernac in 1962, "I have finished Les Ténèbres. I think it is beautiful. With the Gloria and the Stabat Mater, I think I have three good religious works. May they spare me a few days in Purgatory, if I narrowly avoid going to hell." Sept répons des ténèbres, which Poulenc did not live to hear performed, uses a large orchestra, but in Nichols's view it displays a new concentration of thought. To the critic Ralph Thibodeau, the work may be considered as Poulenc's own requiem and is "the most avant-garde of his sacred compositions, the most emotionally demanding, and the most interesting musically, comparable only with his magnum opus sacrum, the opera, Dialogues des Carmélites."

Question: What is the title of the work that is "the most avant-garde of [Poulenc's] sacred compositions," according to Ralph Thibodeau?
Answer: Sept répons des ténèbres
Apart from a single early work for unaccompanied choir ("Chanson à boire", 1922), Poulenc began writing choral music in 1936. In that year he produced three works for choir: Sept chansons (settings of verses by Éluard and others), Petites voix (for children's voices), and his religious work Litanies à la Vierge Noire, for female or children's voices and organ. The Mass in G major (1937) for unaccompanied choir is described by Gouverné as having something of a baroque style, with "vitality and joyful clamour on which his faith is writ large". Poulenc's new-found religious theme continued with Quatre motets pour un temps de pénitence (1938–39), but among his most important choral works is the secular cantata Figure humaine (1943). Like the Mass, it is unaccompanied, and to succeed in performance it requires singers of the highest quality. Other a cappella works include the Quatre motets pour le temps de Noël (1952), which make severe demands on choirs' rhythmic precision and intonation.Poulenc's major works for choir and orchestra are the Stabat Mater (1950), the Gloria (1959–60), and Sept répons des ténèbres (Seven responsories for Tenebrae, 1961–62). All these works are based on liturgical texts, originally set to Gregorian chant. In the Gloria, Poulenc's faith expresses itself in an exuberant, joyful way, with intervals of prayerful calm and mystic feeling, and an ending of serene tranquillity. Poulenc wrote to Bernac in 1962, "I have finished Les Ténèbres. I think it is beautiful. With the Gloria and the Stabat Mater, I think I have three good religious works. May they spare me a few days in Purgatory, if I narrowly avoid going to hell." Sept répons des ténèbres, which Poulenc did not live to hear performed, uses a large orchestra, but in Nichols's view it displays a new concentration of thought. To the critic Ralph Thibodeau, the work may be considered as Poulenc's own requiem and is "the most avant-garde of his sacred compositions, the most emotionally demanding, and the most interesting musically, comparable only with his magnum opus sacrum, the opera, Dialogues des Carmélites."

Question: What is the name of the person whose most avant-garde of sacred compositions is Sept répons des ténèbres, according to Ralph Thibodeau?
Answer: Poulenc
Poulenc was among the composers who recognised in the 1920s the important role that the gramophone would play in the promotion of music. The first recording of his music was made in 1928, with the mezzo-soprano Claire Croiza accompanied by the composer at the piano, in the complete song cycle La bestiaire for French Columbia. He made numerous recordings, mainly for the French division of EMI. With Bernac and Duval he recorded many of his own songs, and those of other composers including Chabrier, Debussy, Gounod and Ravel. He played the piano part in recordings of his Babar the Elephant with Pierre Fresnay and Noël Coward as narrators. In 2005, EMI issued a DVD, "Francis Poulenc & Friends", featuring filmed performances of Poulenc's music, played by the composer, with Duval, Jean-Pierre Rampal, Jacques Février and Georges Prêtre.
A 1984 discography of Poulenc's music lists recordings by more than 1,300 conductors, soloists and ensembles, including the conductors Leonard Bernstein, Charles Dutoit, Milhaud, Charles Munch, Eugene Ormandy, Prêtre, André Previn and Leopold Stokowski. Among the singers, in addition to Bernac and Duval, the list includes Régine Crespin, Dietrich Fischer-Dieskau, Nicolai Gedda, Peter Pears, Yvonne Printemps and Gérard Souzay. Instrumental soloists include Britten, Jacques Février, Pierre Fournier, Emil Gilels, Yehudi Menuhin and Arthur Rubinstein.Complete sets of Poulenc's solo piano music have been recorded by Gabriel Tacchino, who had been Poulenc's only piano student (released on the EMI label), Pascal Rogé (Decca), Paul Crossley (CBS), Eric Parkin (Chandos) and Olivier Cazal (Naxos). Integral sets of the chamber music have been recorded by the Nash Ensemble (Hyperion), and a variety of young French musicians (Naxos).The world premiere of Dialogues des Carmélites (in Italian, as Dialoghi delle Carmelitane) was recorded and has been released on CD. The first studio recording was soon after the French premiere, and since then there have been at least ten live or studio recordings on CD or DVD, most of them in French but one in German and one in English.

Question: What is the full name of the person whose music was first recorded in 1928, with the mezzo-soprano Claire Croiza?
Answer: Francis Poulenc
Poulenc was among the composers who recognised in the 1920s the important role that the gramophone would play in the promotion of music. The first recording of his music was made in 1928, with the mezzo-soprano Claire Croiza accompanied by the composer at the piano, in the complete song cycle La bestiaire for French Columbia. He made numerous recordings, mainly for the French division of EMI. With Bernac and Duval he recorded many of his own songs, and those of other composers including Chabrier, Debussy, Gounod and Ravel. He played the piano part in recordings of his Babar the Elephant with Pierre Fresnay and Noël Coward as narrators. In 2005, EMI issued a DVD, "Francis Poulenc & Friends", featuring filmed performances of Poulenc's music, played by the composer, with Duval, Jean-Pierre Rampal, Jacques Février and Georges Prêtre.
A 1984 discography of Poulenc's music lists recordings by more than 1,300 conductors, soloists and ensembles, including the conductors Leonard Bernstein, Charles Dutoit, Milhaud, Charles Munch, Eugene Ormandy, Prêtre, André Previn and Leopold Stokowski. Among the singers, in addition to Bernac and Duval, the list includes Régine Crespin, Dietrich Fischer-Dieskau, Nicolai Gedda, Peter Pears, Yvonne Printemps and Gérard Souzay. Instrumental soloists include Britten, Jacques Février, Pierre Fournier, Emil Gilels, Yehudi Menuhin and Arthur Rubinstein.Complete sets of Poulenc's solo piano music have been recorded by Gabriel Tacchino, who had been Poulenc's only piano student (released on the EMI label), Pascal Rogé (Decca), Paul Crossley (CBS), Eric Parkin (Chandos) and Olivier Cazal (Naxos). Integral sets of the chamber music have been recorded by the Nash Ensemble (Hyperion), and a variety of young French musicians (Naxos).The world premiere of Dialogues des Carmélites (in Italian, as Dialoghi delle Carmelitane) was recorded and has been released on CD. The first studio recording was soon after the French premiere, and since then there have been at least ten live or studio recordings on CD or DVD, most of them in French but one in German and one in English.

Question: What is the full name of the person who played the piano part in recordings of his Babar the Elephant with Pierre Fresnay and Noël Coward as narrators?
Answer: Francis Poulenc
Poulenc was among the composers who recognised in the 1920s the important role that the gramophone would play in the promotion of music. The first recording of his music was made in 1928, with the mezzo-soprano Claire Croiza accompanied by the composer at the piano, in the complete song cycle La bestiaire for French Columbia. He made numerous recordings, mainly for the French division of EMI. With Bernac and Duval he recorded many of his own songs, and those of other composers including Chabrier, Debussy, Gounod and Ravel. He played the piano part in recordings of his Babar the Elephant with Pierre Fresnay and Noël Coward as narrators. In 2005, EMI issued a DVD, "Francis Poulenc & Friends", featuring filmed performances of Poulenc's music, played by the composer, with Duval, Jean-Pierre Rampal, Jacques Février and Georges Prêtre.
A 1984 discography of Poulenc's music lists recordings by more than 1,300 conductors, soloists and ensembles, including the conductors Leonard Bernstein, Charles Dutoit, Milhaud, Charles Munch, Eugene Ormandy, Prêtre, André Previn and Leopold Stokowski. Among the singers, in addition to Bernac and Duval, the list includes Régine Crespin, Dietrich Fischer-Dieskau, Nicolai Gedda, Peter Pears, Yvonne Printemps and Gérard Souzay. Instrumental soloists include Britten, Jacques Février, Pierre Fournier, Emil Gilels, Yehudi Menuhin and Arthur Rubinstein.Complete sets of Poulenc's solo piano music have been recorded by Gabriel Tacchino, who had been Poulenc's only piano student (released on the EMI label), Pascal Rogé (Decca), Paul Crossley (CBS), Eric Parkin (Chandos) and Olivier Cazal (Naxos). Integral sets of the chamber music have been recorded by the Nash Ensemble (Hyperion), and a variety of young French musicians (Naxos).The world premiere of Dialogues des Carmélites (in Italian, as Dialoghi delle Carmelitane) was recorded and has been released on CD. The first studio recording was soon after the French premiere, and since then there have been at least ten live or studio recordings on CD or DVD, most of them in French but one in German and one in English.

Question: What is the full name of the person who recorded many of his own songs with Bernac and Duval?
Answer: Francis Poulenc
Poulenc was among the composers who recognised in the 1920s the important role that the gramophone would play in the promotion of music. The first recording of his music was made in 1928, with the mezzo-soprano Claire Croiza accompanied by the composer at the piano, in the complete song cycle La bestiaire for French Columbia. He made numerous recordings, mainly for the French division of EMI. With Bernac and Duval he recorded many of his own songs, and those of other composers including Chabrier, Debussy, Gounod and Ravel. He played the piano part in recordings of his Babar the Elephant with Pierre Fresnay and Noël Coward as narrators. In 2005, EMI issued a DVD, "Francis Poulenc & Friends", featuring filmed performances of Poulenc's music, played by the composer, with Duval, Jean-Pierre Rampal, Jacques Février and Georges Prêtre.
A 1984 discography of Poulenc's music lists recordings by more than 1,300 conductors, soloists and ensembles, including the conductors Leonard Bernstein, Charles Dutoit, Milhaud, Charles Munch, Eugene Ormandy, Prêtre, André Previn and Leopold Stokowski. Among the singers, in addition to Bernac and Duval, the list includes Régine Crespin, Dietrich Fischer-Dieskau, Nicolai Gedda, Peter Pears, Yvonne Printemps and Gérard Souzay. Instrumental soloists include Britten, Jacques Février, Pierre Fournier, Emil Gilels, Yehudi Menuhin and Arthur Rubinstein.Complete sets of Poulenc's solo piano music have been recorded by Gabriel Tacchino, who had been Poulenc's only piano student (released on the EMI label), Pascal Rogé (Decca), Paul Crossley (CBS), Eric Parkin (Chandos) and Olivier Cazal (Naxos). Integral sets of the chamber music have been recorded by the Nash Ensemble (Hyperion), and a variety of young French musicians (Naxos).The world premiere of Dialogues des Carmélites (in Italian, as Dialoghi delle Carmelitane) was recorded and has been released on CD. The first studio recording was soon after the French premiere, and since then there have been at least ten live or studio recordings on CD or DVD, most of them in French but one in German and one in English.

Question: What is the first name of the composer who was among those that recognized the important role that the gramophone would play in the promotion of music in the 1920s?
Answer: Francis
Poulenc was among the composers who recognised in the 1920s the important role that the gramophone would play in the promotion of music. The first recording of his music was made in 1928, with the mezzo-soprano Claire Croiza accompanied by the composer at the piano, in the complete song cycle La bestiaire for French Columbia. He made numerous recordings, mainly for the French division of EMI. With Bernac and Duval he recorded many of his own songs, and those of other composers including Chabrier, Debussy, Gounod and Ravel. He played the piano part in recordings of his Babar the Elephant with Pierre Fresnay and Noël Coward as narrators. In 2005, EMI issued a DVD, "Francis Poulenc & Friends", featuring filmed performances of Poulenc's music, played by the composer, with Duval, Jean-Pierre Rampal, Jacques Février and Georges Prêtre.
A 1984 discography of Poulenc's music lists recordings by more than 1,300 conductors, soloists and ensembles, including the conductors Leonard Bernstein, Charles Dutoit, Milhaud, Charles Munch, Eugene Ormandy, Prêtre, André Previn and Leopold Stokowski. Among the singers, in addition to Bernac and Duval, the list includes Régine Crespin, Dietrich Fischer-Dieskau, Nicolai Gedda, Peter Pears, Yvonne Printemps and Gérard Souzay. Instrumental soloists include Britten, Jacques Février, Pierre Fournier, Emil Gilels, Yehudi Menuhin and Arthur Rubinstein.Complete sets of Poulenc's solo piano music have been recorded by Gabriel Tacchino, who had been Poulenc's only piano student (released on the EMI label), Pascal Rogé (Decca), Paul Crossley (CBS), Eric Parkin (Chandos) and Olivier Cazal (Naxos). Integral sets of the chamber music have been recorded by the Nash Ensemble (Hyperion), and a variety of young French musicians (Naxos).The world premiere of Dialogues des Carmélites (in Italian, as Dialoghi delle Carmelitane) was recorded and has been released on CD. The first studio recording was soon after the French premiere, and since then there have been at least ten live or studio recordings on CD or DVD, most of them in French but one in German and one in English.

Question: What is the name of the work for which the first studio recording was soon after its French premiere?
Answer: Dialogues des Carmélites
Poulenc was among the composers who recognised in the 1920s the important role that the gramophone would play in the promotion of music. The first recording of his music was made in 1928, with the mezzo-soprano Claire Croiza accompanied by the composer at the piano, in the complete song cycle La bestiaire for French Columbia. He made numerous recordings, mainly for the French division of EMI. With Bernac and Duval he recorded many of his own songs, and those of other composers including Chabrier, Debussy, Gounod and Ravel. He played the piano part in recordings of his Babar the Elephant with Pierre Fresnay and Noël Coward as narrators. In 2005, EMI issued a DVD, "Francis Poulenc & Friends", featuring filmed performances of Poulenc's music, played by the composer, with Duval, Jean-Pierre Rampal, Jacques Février and Georges Prêtre.
A 1984 discography of Poulenc's music lists recordings by more than 1,300 conductors, soloists and ensembles, including the conductors Leonard Bernstein, Charles Dutoit, Milhaud, Charles Munch, Eugene Ormandy, Prêtre, André Previn and Leopold Stokowski. Among the singers, in addition to Bernac and Duval, the list includes Régine Crespin, Dietrich Fischer-Dieskau, Nicolai Gedda, Peter Pears, Yvonne Printemps and Gérard Souzay. Instrumental soloists include Britten, Jacques Février, Pierre Fournier, Emil Gilels, Yehudi Menuhin and Arthur Rubinstein.Complete sets of Poulenc's solo piano music have been recorded by Gabriel Tacchino, who had been Poulenc's only piano student (released on the EMI label), Pascal Rogé (Decca), Paul Crossley (CBS), Eric Parkin (Chandos) and Olivier Cazal (Naxos). Integral sets of the chamber music have been recorded by the Nash Ensemble (Hyperion), and a variety of young French musicians (Naxos).The world premiere of Dialogues des Carmélites (in Italian, as Dialoghi delle Carmelitane) was recorded and has been released on CD. The first studio recording was soon after the French premiere, and since then there have been at least ten live or studio recordings on CD or DVD, most of them in French but one in German and one in English.

Question: What is the last name of the person whose music was first recorded in 1928?
Answer: Poulenc
Poulenc was among the composers who recognised in the 1920s the important role that the gramophone would play in the promotion of music. The first recording of his music was made in 1928, with the mezzo-soprano Claire Croiza accompanied by the composer at the piano, in the complete song cycle La bestiaire for French Columbia. He made numerous recordings, mainly for the French division of EMI. With Bernac and Duval he recorded many of his own songs, and those of other composers including Chabrier, Debussy, Gounod and Ravel. He played the piano part in recordings of his Babar the Elephant with Pierre Fresnay and Noël Coward as narrators. In 2005, EMI issued a DVD, "Francis Poulenc & Friends", featuring filmed performances of Poulenc's music, played by the composer, with Duval, Jean-Pierre Rampal, Jacques Février and Georges Prêtre.
A 1984 discography of Poulenc's music lists recordings by more than 1,300 conductors, soloists and ensembles, including the conductors Leonard Bernstein, Charles Dutoit, Milhaud, Charles Munch, Eugene Ormandy, Prêtre, André Previn and Leopold Stokowski. Among the singers, in addition to Bernac and Duval, the list includes Régine Crespin, Dietrich Fischer-Dieskau, Nicolai Gedda, Peter Pears, Yvonne Printemps and Gérard Souzay. Instrumental soloists include Britten, Jacques Février, Pierre Fournier, Emil Gilels, Yehudi Menuhin and Arthur Rubinstein.Complete sets of Poulenc's solo piano music have been recorded by Gabriel Tacchino, who had been Poulenc's only piano student (released on the EMI label), Pascal Rogé (Decca), Paul Crossley (CBS), Eric Parkin (Chandos) and Olivier Cazal (Naxos). Integral sets of the chamber music have been recorded by the Nash Ensemble (Hyperion), and a variety of young French musicians (Naxos).The world premiere of Dialogues des Carmélites (in Italian, as Dialoghi delle Carmelitane) was recorded and has been released on CD. The first studio recording was soon after the French premiere, and since then there have been at least ten live or studio recordings on CD or DVD, most of them in French but one in German and one in English.

Question: What is the last name of the person who played the piano part in recordings of his Babar the Elephant?
Answer: Poulenc
The two sides to Poulenc's musical nature caused misunderstanding during his life and have continued to do so. The composer Ned Rorem observed, "He was deeply devout and uncontrollably sensual"; this still leads some critics to underrate his seriousness. His uncompromising adherence to melody, both in his lighter and serious works, has similarly caused some to regard him as unprogressive. Although he was not much influenced by new developments in music, Poulenc was always keenly interested in the works of younger generations of composers. Lennox Berkeley recalled, "Unlike some artists, he was genuinely interested in other people's work, and surprisingly appreciative of music very far removed from his. I remember him playing me the records of Boulez's Le marteau sans maître with which he was already familiar when that work was much less well-known than it is today." Boulez did not take a reciprocal view, remarking in 2010, "There are always people who will take an easy intellectual path. Poulenc coming after Sacre [du Printemps]. It was not progress." Other composers have found more merit in Poulenc's work; Stravinsky wrote to him in 1931: "You are truly good, and that is what I find again and again in your music".In his last years Poulenc observed, "if people are still interested in my music in 50 years' time it will be for my Stabat Mater rather than the Mouvements perpétuels." In a centenary tribute in The Times Gerald Larner commented that Poulenc's prediction was wrong, and that in 1999 the composer was widely celebrated for both sides of his musical character: "both the fervent Catholic and the naughty boy, for both the Gloria and Les Biches, both Les Dialogues des Carmélites and Les Mamelles de Tirésias." At around the same time the writer Jessica Duchen described Poulenc as "a fizzing, bubbling mass of Gallic energy who can move you to both laughter and tears within seconds. His language speaks clearly, directly and humanely to every generation."

Question: What is the last name of the person who was deeply devout and uncontrollably sensual?
Answer: Poulenc
The two sides to Poulenc's musical nature caused misunderstanding during his life and have continued to do so. The composer Ned Rorem observed, "He was deeply devout and uncontrollably sensual"; this still leads some critics to underrate his seriousness. His uncompromising adherence to melody, both in his lighter and serious works, has similarly caused some to regard him as unprogressive. Although he was not much influenced by new developments in music, Poulenc was always keenly interested in the works of younger generations of composers. Lennox Berkeley recalled, "Unlike some artists, he was genuinely interested in other people's work, and surprisingly appreciative of music very far removed from his. I remember him playing me the records of Boulez's Le marteau sans maître with which he was already familiar when that work was much less well-known than it is today." Boulez did not take a reciprocal view, remarking in 2010, "There are always people who will take an easy intellectual path. Poulenc coming after Sacre [du Printemps]. It was not progress." Other composers have found more merit in Poulenc's work; Stravinsky wrote to him in 1931: "You are truly good, and that is what I find again and again in your music".In his last years Poulenc observed, "if people are still interested in my music in 50 years' time it will be for my Stabat Mater rather than the Mouvements perpétuels." In a centenary tribute in The Times Gerald Larner commented that Poulenc's prediction was wrong, and that in 1999 the composer was widely celebrated for both sides of his musical character: "both the fervent Catholic and the naughty boy, for both the Gloria and Les Biches, both Les Dialogues des Carmélites and Les Mamelles de Tirésias." At around the same time the writer Jessica Duchen described Poulenc as "a fizzing, bubbling mass of Gallic energy who can move you to both laughter and tears within seconds. His language speaks clearly, directly and humanely to every generation."

Question: What is the last name of the person whose seriousness was doubted by some critics?
Answer: Poulenc
The two sides to Poulenc's musical nature caused misunderstanding during his life and have continued to do so. The composer Ned Rorem observed, "He was deeply devout and uncontrollably sensual"; this still leads some critics to underrate his seriousness. His uncompromising adherence to melody, both in his lighter and serious works, has similarly caused some to regard him as unprogressive. Although he was not much influenced by new developments in music, Poulenc was always keenly interested in the works of younger generations of composers. Lennox Berkeley recalled, "Unlike some artists, he was genuinely interested in other people's work, and surprisingly appreciative of music very far removed from his. I remember him playing me the records of Boulez's Le marteau sans maître with which he was already familiar when that work was much less well-known than it is today." Boulez did not take a reciprocal view, remarking in 2010, "There are always people who will take an easy intellectual path. Poulenc coming after Sacre [du Printemps]. It was not progress." Other composers have found more merit in Poulenc's work; Stravinsky wrote to him in 1931: "You are truly good, and that is what I find again and again in your music".In his last years Poulenc observed, "if people are still interested in my music in 50 years' time it will be for my Stabat Mater rather than the Mouvements perpétuels." In a centenary tribute in The Times Gerald Larner commented that Poulenc's prediction was wrong, and that in 1999 the composer was widely celebrated for both sides of his musical character: "both the fervent Catholic and the naughty boy, for both the Gloria and Les Biches, both Les Dialogues des Carmélites and Les Mamelles de Tirésias." At around the same time the writer Jessica Duchen described Poulenc as "a fizzing, bubbling mass of Gallic energy who can move you to both laughter and tears within seconds. His language speaks clearly, directly and humanely to every generation."

Question: What is the last name of the person who had uncompromising adherence to melody, both in his lighter and serious works?
Answer: Poulenc
The two sides to Poulenc's musical nature caused misunderstanding during his life and have continued to do so. The composer Ned Rorem observed, "He was deeply devout and uncontrollably sensual"; this still leads some critics to underrate his seriousness. His uncompromising adherence to melody, both in his lighter and serious works, has similarly caused some to regard him as unprogressive. Although he was not much influenced by new developments in music, Poulenc was always keenly interested in the works of younger generations of composers. Lennox Berkeley recalled, "Unlike some artists, he was genuinely interested in other people's work, and surprisingly appreciative of music very far removed from his. I remember him playing me the records of Boulez's Le marteau sans maître with which he was already familiar when that work was much less well-known than it is today." Boulez did not take a reciprocal view, remarking in 2010, "There are always people who will take an easy intellectual path. Poulenc coming after Sacre [du Printemps]. It was not progress." Other composers have found more merit in Poulenc's work; Stravinsky wrote to him in 1931: "You are truly good, and that is what I find again and again in your music".In his last years Poulenc observed, "if people are still interested in my music in 50 years' time it will be for my Stabat Mater rather than the Mouvements perpétuels." In a centenary tribute in The Times Gerald Larner commented that Poulenc's prediction was wrong, and that in 1999 the composer was widely celebrated for both sides of his musical character: "both the fervent Catholic and the naughty boy, for both the Gloria and Les Biches, both Les Dialogues des Carmélites and Les Mamelles de Tirésias." At around the same time the writer Jessica Duchen described Poulenc as "a fizzing, bubbling mass of Gallic energy who can move you to both laughter and tears within seconds. His language speaks clearly, directly and humanely to every generation."

Question: What is the last name of the person who was not much influenced by new developments in music?
Answer: Poulenc
The two sides to Poulenc's musical nature caused misunderstanding during his life and have continued to do so. The composer Ned Rorem observed, "He was deeply devout and uncontrollably sensual"; this still leads some critics to underrate his seriousness. His uncompromising adherence to melody, both in his lighter and serious works, has similarly caused some to regard him as unprogressive. Although he was not much influenced by new developments in music, Poulenc was always keenly interested in the works of younger generations of composers. Lennox Berkeley recalled, "Unlike some artists, he was genuinely interested in other people's work, and surprisingly appreciative of music very far removed from his. I remember him playing me the records of Boulez's Le marteau sans maître with which he was already familiar when that work was much less well-known than it is today." Boulez did not take a reciprocal view, remarking in 2010, "There are always people who will take an easy intellectual path. Poulenc coming after Sacre [du Printemps]. It was not progress." Other composers have found more merit in Poulenc's work; Stravinsky wrote to him in 1931: "You are truly good, and that is what I find again and again in your music".In his last years Poulenc observed, "if people are still interested in my music in 50 years' time it will be for my Stabat Mater rather than the Mouvements perpétuels." In a centenary tribute in The Times Gerald Larner commented that Poulenc's prediction was wrong, and that in 1999 the composer was widely celebrated for both sides of his musical character: "both the fervent Catholic and the naughty boy, for both the Gloria and Les Biches, both Les Dialogues des Carmélites and Les Mamelles de Tirésias." At around the same time the writer Jessica Duchen described Poulenc as "a fizzing, bubbling mass of Gallic energy who can move you to both laughter and tears within seconds. His language speaks clearly, directly and humanely to every generation."

Question: What is the last name of the person who was genuinely interested in other people's work, and surprisingly appreciative of music very far removed from his?
Answer: Poulenc
The two sides to Poulenc's musical nature caused misunderstanding during his life and have continued to do so. The composer Ned Rorem observed, "He was deeply devout and uncontrollably sensual"; this still leads some critics to underrate his seriousness. His uncompromising adherence to melody, both in his lighter and serious works, has similarly caused some to regard him as unprogressive. Although he was not much influenced by new developments in music, Poulenc was always keenly interested in the works of younger generations of composers. Lennox Berkeley recalled, "Unlike some artists, he was genuinely interested in other people's work, and surprisingly appreciative of music very far removed from his. I remember him playing me the records of Boulez's Le marteau sans maître with which he was already familiar when that work was much less well-known than it is today." Boulez did not take a reciprocal view, remarking in 2010, "There are always people who will take an easy intellectual path. Poulenc coming after Sacre [du Printemps]. It was not progress." Other composers have found more merit in Poulenc's work; Stravinsky wrote to him in 1931: "You are truly good, and that is what I find again and again in your music".In his last years Poulenc observed, "if people are still interested in my music in 50 years' time it will be for my Stabat Mater rather than the Mouvements perpétuels." In a centenary tribute in The Times Gerald Larner commented that Poulenc's prediction was wrong, and that in 1999 the composer was widely celebrated for both sides of his musical character: "both the fervent Catholic and the naughty boy, for both the Gloria and Les Biches, both Les Dialogues des Carmélites and Les Mamelles de Tirésias." At around the same time the writer Jessica Duchen described Poulenc as "a fizzing, bubbling mass of Gallic energy who can move you to both laughter and tears within seconds. His language speaks clearly, directly and humanely to every generation."

Question: What is the last name of the person who played the records of Boulez's Le marteau sans maître for Lennox?
Answer: Poulenc
The two sides to Poulenc's musical nature caused misunderstanding during his life and have continued to do so. The composer Ned Rorem observed, "He was deeply devout and uncontrollably sensual"; this still leads some critics to underrate his seriousness. His uncompromising adherence to melody, both in his lighter and serious works, has similarly caused some to regard him as unprogressive. Although he was not much influenced by new developments in music, Poulenc was always keenly interested in the works of younger generations of composers. Lennox Berkeley recalled, "Unlike some artists, he was genuinely interested in other people's work, and surprisingly appreciative of music very far removed from his. I remember him playing me the records of Boulez's Le marteau sans maître with which he was already familiar when that work was much less well-known than it is today." Boulez did not take a reciprocal view, remarking in 2010, "There are always people who will take an easy intellectual path. Poulenc coming after Sacre [du Printemps]. It was not progress." Other composers have found more merit in Poulenc's work; Stravinsky wrote to him in 1931: "You are truly good, and that is what I find again and again in your music".In his last years Poulenc observed, "if people are still interested in my music in 50 years' time it will be for my Stabat Mater rather than the Mouvements perpétuels." In a centenary tribute in The Times Gerald Larner commented that Poulenc's prediction was wrong, and that in 1999 the composer was widely celebrated for both sides of his musical character: "both the fervent Catholic and the naughty boy, for both the Gloria and Les Biches, both Les Dialogues des Carmélites and Les Mamelles de Tirésias." At around the same time the writer Jessica Duchen described Poulenc as "a fizzing, bubbling mass of Gallic energy who can move you to both laughter and tears within seconds. His language speaks clearly, directly and humanely to every generation."

Question: What was the last name of the composer who was widely celebrated in 1999 for both sides of his musical character?
Answer: Poulenc
The two sides to Poulenc's musical nature caused misunderstanding during his life and have continued to do so. The composer Ned Rorem observed, "He was deeply devout and uncontrollably sensual"; this still leads some critics to underrate his seriousness. His uncompromising adherence to melody, both in his lighter and serious works, has similarly caused some to regard him as unprogressive. Although he was not much influenced by new developments in music, Poulenc was always keenly interested in the works of younger generations of composers. Lennox Berkeley recalled, "Unlike some artists, he was genuinely interested in other people's work, and surprisingly appreciative of music very far removed from his. I remember him playing me the records of Boulez's Le marteau sans maître with which he was already familiar when that work was much less well-known than it is today." Boulez did not take a reciprocal view, remarking in 2010, "There are always people who will take an easy intellectual path. Poulenc coming after Sacre [du Printemps]. It was not progress." Other composers have found more merit in Poulenc's work; Stravinsky wrote to him in 1931: "You are truly good, and that is what I find again and again in your music".In his last years Poulenc observed, "if people are still interested in my music in 50 years' time it will be for my Stabat Mater rather than the Mouvements perpétuels." In a centenary tribute in The Times Gerald Larner commented that Poulenc's prediction was wrong, and that in 1999 the composer was widely celebrated for both sides of his musical character: "both the fervent Catholic and the naughty boy, for both the Gloria and Les Biches, both Les Dialogues des Carmélites and Les Mamelles de Tirésias." At around the same time the writer Jessica Duchen described Poulenc as "a fizzing, bubbling mass of Gallic energy who can move you to both laughter and tears within seconds. His language speaks clearly, directly and humanely to every generation."

Question: What is the last name of the person whose language speaks clearly, directly and humanely to every generation?"
Answer: Poulenc
A truce between two rival gangs, the Tigers and the JPs, come to an end when after a day at school, the Tigers are attacked by members of the JPs, led by Spider. When Tigers leader Max warns Spider about the truce, Spider informs Max it is his gang and they want the streets back. Max gets help in Charlie, who is a martial arts expert but in the melee, Tigers member Spud is stabbed by Spider. Later that day, the JP leader Priest has been released from prison alongside Tok, a mute prisoner who saved Priest and has become his most trusted companion. Upon returning to the hangout, Priest has learned that Spider had broken the truce. Angry, Priest and Spider settle the score with Priest winning and regaining full leadership of the gang.
Meanwhile, reeling from the loss of Spud, Max finds it hard to work at the local warehouse. He is good friends with the manager, Troy, who tries to help him cope with his problem. Max tells Troy of an upcoming school dance and wants to introduce him to his girlfriend's friend. Max's girlfriend, Marie, works at a clothing store with Julie. Marie invites Julie to the dance perhaps in an effort to introduce her to Troy. That night at the dance, Charlie and Troy meet when they both ask Julie to dance. However, the celebration is interrupted by the arrivals of the JPs. When Julie sees Priest, she is in complete shock as it is revealed that Priest is Julie's ex-boyfriend, who plans to get her back at any cost. A fight breaks out and Charlie attempts to help, but is outmatched by Tok, who is a master martial artist himself. Troy and Charlie soon become friends and Charlie decides that Troy may have the potential to be able to defend himself.

Question: Who is good friends with the manager?
Answer: Max
A truce between two rival gangs, the Tigers and the JPs, come to an end when after a day at school, the Tigers are attacked by members of the JPs, led by Spider. When Tigers leader Max warns Spider about the truce, Spider informs Max it is his gang and they want the streets back. Max gets help in Charlie, who is a martial arts expert but in the melee, Tigers member Spud is stabbed by Spider. Later that day, the JP leader Priest has been released from prison alongside Tok, a mute prisoner who saved Priest and has become his most trusted companion. Upon returning to the hangout, Priest has learned that Spider had broken the truce. Angry, Priest and Spider settle the score with Priest winning and regaining full leadership of the gang.
Meanwhile, reeling from the loss of Spud, Max finds it hard to work at the local warehouse. He is good friends with the manager, Troy, who tries to help him cope with his problem. Max tells Troy of an upcoming school dance and wants to introduce him to his girlfriend's friend. Max's girlfriend, Marie, works at a clothing store with Julie. Marie invites Julie to the dance perhaps in an effort to introduce her to Troy. That night at the dance, Charlie and Troy meet when they both ask Julie to dance. However, the celebration is interrupted by the arrivals of the JPs. When Julie sees Priest, she is in complete shock as it is revealed that Priest is Julie's ex-boyfriend, who plans to get her back at any cost. A fight breaks out and Charlie attempts to help, but is outmatched by Tok, who is a master martial artist himself. Troy and Charlie soon become friends and Charlie decides that Troy may have the potential to be able to defend himself.

Question: Who is in complete shock?
Answer: Julie
The film opens with a montage of images of Manhattan and other parts of New York City accompanied by George Gershwin's Rhapsody in Blue, with Isaac Davis narrating drafts of an introduction to a book about a man who loves the city. Isaac is a twice-divorced, 42-year-old television comedy writer who quits his unfulfilling job. He is dating Tracy, a 17-year-old girl attending the Dalton School. His best friend, college professor Yale Pollack, married to Emily, is having an affair with Mary Wilkie. Mary's ex-husband and former teacher, Jeremiah, also appears, and Isaac's ex-wife Jill Davis is writing a confessional book about their marriage. Jill has also since come out as a lesbian and lives with her partner, Connie.
When Isaac meets Mary, her cultural snobbery rubs him the wrong way. Isaac runs into her again at an Equal Rights Amendment fund-raising event at the Museum of Modern Art hosted by Bella Abzug (playing herself) and accompanies her on a cab ride home. They chat until sunrise in a sequence that culminates in the iconic shot of the Queensboro Bridge. In spite of a growing attraction to Mary, Isaac continues his relationship with Tracy but emphasizes that theirs cannot be a serious relationship and encourages her to go to London to study acting. In another iconic scene, at Tracy's request, they go on a carriage ride through Central Park.

Question: What is the last name of the person who was divorced twice?
Answer: Davis
The film opens with a montage of images of Manhattan and other parts of New York City accompanied by George Gershwin's Rhapsody in Blue, with Isaac Davis narrating drafts of an introduction to a book about a man who loves the city. Isaac is a twice-divorced, 42-year-old television comedy writer who quits his unfulfilling job. He is dating Tracy, a 17-year-old girl attending the Dalton School. His best friend, college professor Yale Pollack, married to Emily, is having an affair with Mary Wilkie. Mary's ex-husband and former teacher, Jeremiah, also appears, and Isaac's ex-wife Jill Davis is writing a confessional book about their marriage. Jill has also since come out as a lesbian and lives with her partner, Connie.
When Isaac meets Mary, her cultural snobbery rubs him the wrong way. Isaac runs into her again at an Equal Rights Amendment fund-raising event at the Museum of Modern Art hosted by Bella Abzug (playing herself) and accompanies her on a cab ride home. They chat until sunrise in a sequence that culminates in the iconic shot of the Queensboro Bridge. In spite of a growing attraction to Mary, Isaac continues his relationship with Tracy but emphasizes that theirs cannot be a serious relationship and encourages her to go to London to study acting. In another iconic scene, at Tracy's request, they go on a carriage ride through Central Park.

Question: What is the last name of the person who quits his job?
Answer: Davis
Paul is a young womanizer living in a small Southern town, where he earns a living fixing cars for his uncle. Paul still lives with his mother, Elvira, who works as a clown cheering up children at the local hospital. He spends most of his time hanging out with his best friend and self-proclaimed partner-in-crime, Tip, and their friends Bo and Bust-Ass. Among his friends, Paul has a reputation as a ladies' man, but he is not at all known for being involved with long-term relationships; most of Paul's romances last only a few weeks, and he's slept with nearly every girl in town. Paul is beginning to reach a point where he would like to lead a different life, and that feeling becomes all the more clear when he meets Noel, Tip's teenage sister who returns home after attending a boarding school. Noel is more thoughtful and mature than the girls Paul is used to. Paul and Noel soon fall in love, but for Paul this is a different sort of relationship than he's accustomed to — Noel is still a virgin, and her contemplative nature gives him a desire to be a better, stronger person, but Tip does not approve of Paul dating his younger sister, which leads to a rift between these longtime friends.

Question: Who are Bo, Bust-Ass and Tip friends with?
Answer: Paul
Paul is a young womanizer living in a small Southern town, where he earns a living fixing cars for his uncle. Paul still lives with his mother, Elvira, who works as a clown cheering up children at the local hospital. He spends most of his time hanging out with his best friend and self-proclaimed partner-in-crime, Tip, and their friends Bo and Bust-Ass. Among his friends, Paul has a reputation as a ladies' man, but he is not at all known for being involved with long-term relationships; most of Paul's romances last only a few weeks, and he's slept with nearly every girl in town. Paul is beginning to reach a point where he would like to lead a different life, and that feeling becomes all the more clear when he meets Noel, Tip's teenage sister who returns home after attending a boarding school. Noel is more thoughtful and mature than the girls Paul is used to. Paul and Noel soon fall in love, but for Paul this is a different sort of relationship than he's accustomed to — Noel is still a virgin, and her contemplative nature gives him a desire to be a better, stronger person, but Tip does not approve of Paul dating his younger sister, which leads to a rift between these longtime friends.

Question: Who's a relative of Paul's partner in crime?
Answer: Noel
Paul is a young womanizer living in a small Southern town, where he earns a living fixing cars for his uncle. Paul still lives with his mother, Elvira, who works as a clown cheering up children at the local hospital. He spends most of his time hanging out with his best friend and self-proclaimed partner-in-crime, Tip, and their friends Bo and Bust-Ass. Among his friends, Paul has a reputation as a ladies' man, but he is not at all known for being involved with long-term relationships; most of Paul's romances last only a few weeks, and he's slept with nearly every girl in town. Paul is beginning to reach a point where he would like to lead a different life, and that feeling becomes all the more clear when he meets Noel, Tip's teenage sister who returns home after attending a boarding school. Noel is more thoughtful and mature than the girls Paul is used to. Paul and Noel soon fall in love, but for Paul this is a different sort of relationship than he's accustomed to — Noel is still a virgin, and her contemplative nature gives him a desire to be a better, stronger person, but Tip does not approve of Paul dating his younger sister, which leads to a rift between these longtime friends.

Question: Who does Paul's best friend not want his sister to date?
Answer: Paul
Paul is a young womanizer living in a small Southern town, where he earns a living fixing cars for his uncle. Paul still lives with his mother, Elvira, who works as a clown cheering up children at the local hospital. He spends most of his time hanging out with his best friend and self-proclaimed partner-in-crime, Tip, and their friends Bo and Bust-Ass. Among his friends, Paul has a reputation as a ladies' man, but he is not at all known for being involved with long-term relationships; most of Paul's romances last only a few weeks, and he's slept with nearly every girl in town. Paul is beginning to reach a point where he would like to lead a different life, and that feeling becomes all the more clear when he meets Noel, Tip's teenage sister who returns home after attending a boarding school. Noel is more thoughtful and mature than the girls Paul is used to. Paul and Noel soon fall in love, but for Paul this is a different sort of relationship than he's accustomed to — Noel is still a virgin, and her contemplative nature gives him a desire to be a better, stronger person, but Tip does not approve of Paul dating his younger sister, which leads to a rift between these longtime friends.

Question: Who falls in love with the local hospital clown's son?
Answer: Noel