nc33/multispan_quoref huggingface dataset:
Holst's absorption of folksong, not only in the melodic sense but in terms of its simplicity and economy of expression, helped to develop a style that many of his contemporaries, even admirers, found austere and cerebral. This is contrary to the popular identification of Holst with The Planets, which Matthews believes has masked his status as a composer of genuine originality. Against charges of coldness in the music, Imogen cites Holst's characteristic "sweeping modal tunes mov[ing] reassuringly above the steps of a descending bass", while Michael Kennedy points to the 12 Humbert Wolfe settings of 1929, and the 12 Welsh folksong settings for unaccompanied chorus of 1930–31, as works of true warmth.Many of the characteristics that Holst employed — unconventional time signatures, rising and falling scales, ostinato, bitonality and occasional polytonality — set him apart from other English composers. Vaughan Williams remarked that Holst always said in his music what he wished to say, directly and concisely; "He was not afraid of being obvious when the occasion demanded, nor did he hesitate to be remote when remoteness expressed his purpose". Kennedy has surmised that Holst's economy of style was in part a product of the composer's poor health: "the effort of writing it down compelled an artistic economy which some felt was carried too far". However, as an experienced instrumentalist and orchestra member, Holst understood music from the standpoint of his players and made sure that, however challenging, their parts were always practicable. According to his pupil Jane Joseph, Holst fostered in performance "a spirit of practical comradeship ... none could know better than he the boredom possible to a professional player, and the music that rendered boredom impossible".

Question: What is the last name of the person who was said to know best he music that rendered boredom impossible?
Answer: Holst
Holst's settings of Indian texts formed only a part of his compositional output in the period 1900 to 1914. A highly significant factor in his musical development was the English folksong revival, evident in the orchestral suite A Somerset Rhapsody (1906–07), a work that was originally to be based around eleven folksong themes; this was later reduced to four. Observing the work's kinship with Vaughan Williams's Norfolk Rhapsody, Dickinson remarks that, with its firm overall structure, Holst's composition "rises beyond the level of ... a song-selection". Imogen acknowledges that Holst's discovery of English folksongs "transformed his orchestral writing", and that the composition of A Somerset Rhapsody did much to banish the chromaticisms that had dominated his early compositions. In the Two Songs without Words of 1906, Holst showed that he could create his own original music using the folk idiom. An orchestral folksong fantasy Songs of the West, also written in 1906, was withdrawn by the composer and never published, although it emerged in the 1980s in the form of an arrangement for wind band by James Curnow.
In the years before the First World War, Holst composed in a variety of genres. Matthews considers the evocation of a North African town in the Beni Mora suite of 1908 the composer's most individual work to that date; the third movement gives a preview of minimalism in its constant repetition of a four-bar theme. Holst wrote two suites for military band, in E flat (1909) and F major (1911) respectively, the first of which became and remains a brass-band staple. This piece, a highly original and substantial musical work, was a signal departure from what Short describes as "the usual transcriptions and operatic selections which pervaded the band repertoire". Also in 1911 he wrote Hecuba's Lament, a setting of Gilbert Murray's translation from Euripides built on a seven-beat refrain designed, says Dickinson, to represent Hecuba's defiance of divine wrath. In 1912 Holst composed two psalm settings, in which he experimented with plainsong; the same year saw the enduringly popular St Paul's Suite (a "gay but retrogressive" piece according to Dickinson), and the failure of his large scale orchestral work Phantastes.

Question: What two compositions did Holst write in 1906?
Answer: Two Songs without Words, Songs of the West
Holst's settings of Indian texts formed only a part of his compositional output in the period 1900 to 1914. A highly significant factor in his musical development was the English folksong revival, evident in the orchestral suite A Somerset Rhapsody (1906–07), a work that was originally to be based around eleven folksong themes; this was later reduced to four. Observing the work's kinship with Vaughan Williams's Norfolk Rhapsody, Dickinson remarks that, with its firm overall structure, Holst's composition "rises beyond the level of ... a song-selection". Imogen acknowledges that Holst's discovery of English folksongs "transformed his orchestral writing", and that the composition of A Somerset Rhapsody did much to banish the chromaticisms that had dominated his early compositions. In the Two Songs without Words of 1906, Holst showed that he could create his own original music using the folk idiom. An orchestral folksong fantasy Songs of the West, also written in 1906, was withdrawn by the composer and never published, although it emerged in the 1980s in the form of an arrangement for wind band by James Curnow.
In the years before the First World War, Holst composed in a variety of genres. Matthews considers the evocation of a North African town in the Beni Mora suite of 1908 the composer's most individual work to that date; the third movement gives a preview of minimalism in its constant repetition of a four-bar theme. Holst wrote two suites for military band, in E flat (1909) and F major (1911) respectively, the first of which became and remains a brass-band staple. This piece, a highly original and substantial musical work, was a signal departure from what Short describes as "the usual transcriptions and operatic selections which pervaded the band repertoire". Also in 1911 he wrote Hecuba's Lament, a setting of Gilbert Murray's translation from Euripides built on a seven-beat refrain designed, says Dickinson, to represent Hecuba's defiance of divine wrath. In 1912 Holst composed two psalm settings, in which he experimented with plainsong; the same year saw the enduringly popular St Paul's Suite (a "gay but retrogressive" piece according to Dickinson), and the failure of his large scale orchestral work Phantastes.

Question: What were the two suites Holst wrote for military band?
Answer: E flat, F major
Holst's settings of Indian texts formed only a part of his compositional output in the period 1900 to 1914. A highly significant factor in his musical development was the English folksong revival, evident in the orchestral suite A Somerset Rhapsody (1906–07), a work that was originally to be based around eleven folksong themes; this was later reduced to four. Observing the work's kinship with Vaughan Williams's Norfolk Rhapsody, Dickinson remarks that, with its firm overall structure, Holst's composition "rises beyond the level of ... a song-selection". Imogen acknowledges that Holst's discovery of English folksongs "transformed his orchestral writing", and that the composition of A Somerset Rhapsody did much to banish the chromaticisms that had dominated his early compositions. In the Two Songs without Words of 1906, Holst showed that he could create his own original music using the folk idiom. An orchestral folksong fantasy Songs of the West, also written in 1906, was withdrawn by the composer and never published, although it emerged in the 1980s in the form of an arrangement for wind band by James Curnow.
In the years before the First World War, Holst composed in a variety of genres. Matthews considers the evocation of a North African town in the Beni Mora suite of 1908 the composer's most individual work to that date; the third movement gives a preview of minimalism in its constant repetition of a four-bar theme. Holst wrote two suites for military band, in E flat (1909) and F major (1911) respectively, the first of which became and remains a brass-band staple. This piece, a highly original and substantial musical work, was a signal departure from what Short describes as "the usual transcriptions and operatic selections which pervaded the band repertoire". Also in 1911 he wrote Hecuba's Lament, a setting of Gilbert Murray's translation from Euripides built on a seven-beat refrain designed, says Dickinson, to represent Hecuba's defiance of divine wrath. In 1912 Holst composed two psalm settings, in which he experimented with plainsong; the same year saw the enduringly popular St Paul's Suite (a "gay but retrogressive" piece according to Dickinson), and the failure of his large scale orchestral work Phantastes.

Question: What suite written for military band remains a brassbands staple?
Answer: E flat
Holst's settings of Indian texts formed only a part of his compositional output in the period 1900 to 1914. A highly significant factor in his musical development was the English folksong revival, evident in the orchestral suite A Somerset Rhapsody (1906–07), a work that was originally to be based around eleven folksong themes; this was later reduced to four. Observing the work's kinship with Vaughan Williams's Norfolk Rhapsody, Dickinson remarks that, with its firm overall structure, Holst's composition "rises beyond the level of ... a song-selection". Imogen acknowledges that Holst's discovery of English folksongs "transformed his orchestral writing", and that the composition of A Somerset Rhapsody did much to banish the chromaticisms that had dominated his early compositions. In the Two Songs without Words of 1906, Holst showed that he could create his own original music using the folk idiom. An orchestral folksong fantasy Songs of the West, also written in 1906, was withdrawn by the composer and never published, although it emerged in the 1980s in the form of an arrangement for wind band by James Curnow.
In the years before the First World War, Holst composed in a variety of genres. Matthews considers the evocation of a North African town in the Beni Mora suite of 1908 the composer's most individual work to that date; the third movement gives a preview of minimalism in its constant repetition of a four-bar theme. Holst wrote two suites for military band, in E flat (1909) and F major (1911) respectively, the first of which became and remains a brass-band staple. This piece, a highly original and substantial musical work, was a signal departure from what Short describes as "the usual transcriptions and operatic selections which pervaded the band repertoire". Also in 1911 he wrote Hecuba's Lament, a setting of Gilbert Murray's translation from Euripides built on a seven-beat refrain designed, says Dickinson, to represent Hecuba's defiance of divine wrath. In 1912 Holst composed two psalm settings, in which he experimented with plainsong; the same year saw the enduringly popular St Paul's Suite (a "gay but retrogressive" piece according to Dickinson), and the failure of his large scale orchestral work Phantastes.

Question: What work written by Holst was written on a seven-beat refrain designed to represent Hecuba's defiance of divine wrath??
Answer: Hecuba's Lament
During and after the composition of The Planets, Holst wrote or arranged numerous vocal and choral works, many of them for the wartime Thaxted Whitsun Festivals, 1916–18. They include the Six Choral Folksongs of 1916, based on West Country tunes, of which "Swansea Town", with its "sophisticated tone", is deemed by Dickinson to be the most memorable. Holst downplayed such music as "a limited form of art" in which "mannerisms are almost inevitable"; the composer Alan Gibbs, however, believes Holst's set at least equal to Vaughan Williams's Five English Folk Songs of 1913.Holst's first major work after The Planets was the Hymn of Jesus, completed in 1917. The words are from a Gnostic text, the apocryphal Acts of St John, using a translation from the Greek which Holst prepared with assistance from Clifford Bax and Jane Joseph. Head comments on the innovative character of the Hymn: "At a stroke Holst had cast aside the Victorian and Edwardian sentimental oratorio, and created the precursor of the kind of works that John Tavener, for example, was to write in the 1970s". Matthews has written that the Hymn's "ecstatic" quality is matched in English music "perhaps only by Tippett's The Vision of Saint Augustine"; the musical elements include plainsong, two choirs distanced from each other to emphasise dialogue, dance episodes and "explosive chordal dislocations".In the Ode to Death (1918–19), the quiet, resigned mood is seen by Matthews as an "abrupt volte-face" after the life-enhancing spirituality of the Hymn. Warrack refers to its aloof tranquillity; Imogen Holst believed the Ode expressed Holst's private attitude to death. The piece has rarely been performed since its premiere in 1922, although the composer Ernest Walker thought it was Holst's finest work to that date.The influential critic Ernest Newman considered The Perfect Fool "the best of modern British operas", but its unusually short length (about an hour) and parodic, whimsical nature—described by The Times as "a brilliant puzzle"—put it outside the operatic mainstream. Only the ballet music from the opera, which The Times called "the most brilliant thing in a work glittering with brilliant moments", has been regularly performed since 1923. Holst's libretto attracted much criticism, although Edwin Evans remarked on the rare treat in opera of being able to hear the words being sung.

Question: What is the name of the set of songs that Alan Gibbs believes is at least equal to Vaughan William's Five English Folk songs of 1913?
Answer: the Six Choral Folksongs of 1916
During and after the composition of The Planets, Holst wrote or arranged numerous vocal and choral works, many of them for the wartime Thaxted Whitsun Festivals, 1916–18. They include the Six Choral Folksongs of 1916, based on West Country tunes, of which "Swansea Town", with its "sophisticated tone", is deemed by Dickinson to be the most memorable. Holst downplayed such music as "a limited form of art" in which "mannerisms are almost inevitable"; the composer Alan Gibbs, however, believes Holst's set at least equal to Vaughan Williams's Five English Folk Songs of 1913.Holst's first major work after The Planets was the Hymn of Jesus, completed in 1917. The words are from a Gnostic text, the apocryphal Acts of St John, using a translation from the Greek which Holst prepared with assistance from Clifford Bax and Jane Joseph. Head comments on the innovative character of the Hymn: "At a stroke Holst had cast aside the Victorian and Edwardian sentimental oratorio, and created the precursor of the kind of works that John Tavener, for example, was to write in the 1970s". Matthews has written that the Hymn's "ecstatic" quality is matched in English music "perhaps only by Tippett's The Vision of Saint Augustine"; the musical elements include plainsong, two choirs distanced from each other to emphasise dialogue, dance episodes and "explosive chordal dislocations".In the Ode to Death (1918–19), the quiet, resigned mood is seen by Matthews as an "abrupt volte-face" after the life-enhancing spirituality of the Hymn. Warrack refers to its aloof tranquillity; Imogen Holst believed the Ode expressed Holst's private attitude to death. The piece has rarely been performed since its premiere in 1922, although the composer Ernest Walker thought it was Holst's finest work to that date.The influential critic Ernest Newman considered The Perfect Fool "the best of modern British operas", but its unusually short length (about an hour) and parodic, whimsical nature—described by The Times as "a brilliant puzzle"—put it outside the operatic mainstream. Only the ballet music from the opera, which The Times called "the most brilliant thing in a work glittering with brilliant moments", has been regularly performed since 1923. Holst's libretto attracted much criticism, although Edwin Evans remarked on the rare treat in opera of being able to hear the words being sung.

Question: What is the name of the song Matthews sees as an abrupt volte-face?
Answer: the Ode to Death
Before his enforced rest in 1924, Holst demonstrated a new interest in counterpoint, in his Fugal Overture of 1922 for full orchestra and the neo-classical Fugal Concerto of 1923, for flute, oboe and strings. In his final decade he mixed song settings and minor pieces with major works and occasional new departures; the 1925 Terzetto for flute, violin and oboe, each instrument playing in a different key, is cited by Imogen as Holst's only successful chamber work. Of the Choral Symphony completed in 1924, Matthews writes that, after several movements of real quality, the finale is a rambling anticlimax. Holst's penultimate opera, At the Boar's Head (1924), is based on tavern scenes from Shakespeare's Henry IV, Parts 1 and 2. The music, which is largely derived from old English melodies gleaned from Cecil Sharp and other collections, has pace and verve; the contemporary critic Harvey Grace discounted the lack of originality, a facet which he said "can be shown no less convincingly by a composer's handling of material than by its invention".Egdon Heath (1927) was Holst's first major orchestral work after The Planets. Matthews summarises the music as "elusive and unpredictable [with] three main elements: a pulseless wandering melody [for strings], a sad brass processional, and restless music for strings and oboe." The mysterious dance towards the end is, says Matthews, "the strangest moment in a strange work". Richard Greene in Music & Letters describes the piece as "a larghetto dance in a siciliano rhythm with a simple, stepwise, rocking melody", but lacking the power of The Planets and, at times, monotonous to the listener. A more popular success was A Moorside Suite for brass band, written as a test piece for the National Brass Band Festival championships of 1928. While written within the traditions of north-country brass-band music, the suite, Short says, bears Holst's unmistakable imprint, "from the skipping 6/8 of the opening Scherzo, to the vigorous melodic fourths of the concluding March, the intervening Nocturne bearing a family resemblance to the slow-moving procession of Saturn". 'A Moorside Suite' has undergone major revisionism in the article 'Symphony Within: rehearing Holst's 'A Moorside Suite' by Stephen Arthur Allen in the Winter 2017 edition of 'The Musical Times'. As with 'Egdon Heath' – commissioned as a symphony – the article reveals the symphonic nature of this brass-band work.

Question: What is the name of the piece Short says bears Holst's unmistakable imprint?
Answer: A Moorside Suite
After this, Holst tackled his final attempt at opera in a cheerful vein, with The Wandering Scholar (1929–30), to a text by Clifford Bax. Imogen refers to the music as "Holst at his best in a scherzando (playful) frame of mind"; Vaughan Williams commented on the lively, folksy rhythms: "Do you think there's a little bit too much 6/8 in the opera?" Short observes that the opening motif makes several reappearances without being identified with a particular character, but imposes musical unity on the work.Holst composed few large-scale works in his final years. A Choral Fantasia of 1930 was written for the Three Choirs Festival at Gloucester; beginning and ending with a soprano soloist, the work, also involving chorus, strings, brass and percussion, includes a substantial organ solo which, says Imogen Holst, "knows something of the 'colossal and mysterious' loneliness of Egdon Heath". Apart from his final uncompleted symphony, Holst's remaining works were for small forces; the eight Canons of 1932 were dedicated to his pupils, though in Imogen's view that they present a formidable challenge to the most professional of singers. The Brook Green Suite (1932), written for the orchestra of St Paul's School, was a late companion piece to the St Paul's Suite. The Lyric Movement for viola and small orchestra (1933) was written for Lionel Tertis. Quiet and contemplative, and requiring little virtuosity from the soloist, the piece was slow to gain popularity among violists. Robin Hull, in Penguin Music Magazine, praised the work's "clear beauty—impossible to mistake for the art of any other composer"; in Dickinson's view, however, it remains "a frail creation". Holst's final composition, the orchestral scherzo movement of a projected symphony, contains features characteristic of much of Holst's earlier music—"a summing up of Holst's orchestral art", according to Short. Dickinson suggests that the somewhat casual collection of material in the work gives little indication of the symphony that might have been written.

Question: What was the name of the work that was a late companion piece to St. Paul's Suite?
Answer: The Brook Green Suite
After this, Holst tackled his final attempt at opera in a cheerful vein, with The Wandering Scholar (1929–30), to a text by Clifford Bax. Imogen refers to the music as "Holst at his best in a scherzando (playful) frame of mind"; Vaughan Williams commented on the lively, folksy rhythms: "Do you think there's a little bit too much 6/8 in the opera?" Short observes that the opening motif makes several reappearances without being identified with a particular character, but imposes musical unity on the work.Holst composed few large-scale works in his final years. A Choral Fantasia of 1930 was written for the Three Choirs Festival at Gloucester; beginning and ending with a soprano soloist, the work, also involving chorus, strings, brass and percussion, includes a substantial organ solo which, says Imogen Holst, "knows something of the 'colossal and mysterious' loneliness of Egdon Heath". Apart from his final uncompleted symphony, Holst's remaining works were for small forces; the eight Canons of 1932 were dedicated to his pupils, though in Imogen's view that they present a formidable challenge to the most professional of singers. The Brook Green Suite (1932), written for the orchestra of St Paul's School, was a late companion piece to the St Paul's Suite. The Lyric Movement for viola and small orchestra (1933) was written for Lionel Tertis. Quiet and contemplative, and requiring little virtuosity from the soloist, the piece was slow to gain popularity among violists. Robin Hull, in Penguin Music Magazine, praised the work's "clear beauty—impossible to mistake for the art of any other composer"; in Dickinson's view, however, it remains "a frail creation". Holst's final composition, the orchestral scherzo movement of a projected symphony, contains features characteristic of much of Holst's earlier music—"a summing up of Holst's orchestral art", according to Short. Dickinson suggests that the somewhat casual collection of material in the work gives little indication of the symphony that might have been written.

Question: What was the name of the piece that was slow to gain popularity among violists?
Answer: The Lyric Movement
Holst made some recordings, conducting his own music. For the Columbia company he recorded Beni Mora, the Marching Song and the complete Planets with the London Symphony Orchestra (LSO) in 1922, using the acoustic process. The limitations of early recording prevented the gradual fade-out of women's voices at the end of "Neptune", and the lower strings had to be replaced by a tuba to obtain an effective bass sound. With an anonymous string orchestra Holst recorded the St Paul's Suite and Country Song in 1925. Columbia's main rival, HMV, issued recordings of some of the same repertoire, with an unnamed orchestra conducted by Albert Coates. When electrical recording came in, with dramatically improved recording quality, Holst and the LSO re-recorded The Planets for Columbia in 1926.In the early LP era little of Holst's music was available on disc. Only six of his works are listed in the 1955 issue of The Record Guide: The Planets (recordings under Boult on HMV and Nixa, and another under Sir Malcolm Sargent on Decca); the Perfect Fool ballet music; the St Paul's Suite; and three short choral pieces. In the stereo LP and CD eras numerous recordings of The Planets were issued, performed by orchestras and conductors from round the world. By the early years of the 21st century most of the major and many of the minor orchestral and choral works had been issued on disc. The 2008 issue of The Penguin Guide to Recorded Classical Music contained seven pages of listings of Holst's works on CD. Of the operas, Savitri, The Wandering Scholar, and At the Boar's Head have been recorded.

Question: What is the last name of the person of whose works only six are listed in the 1955 issue of The Record Guide?
Answer: Holst
Warrack emphasises that Holst acquired an instinctive understanding—perhaps more so than any English composer—of the importance of folksong. In it he found "a new concept not only of how melody might be organized, but of what the implications were for the development of a mature artistic language". Holst did not found or lead a school of composition; nevertheless, he exercised influences over both contemporaries and successors. According to Short, Vaughan Williams described Holst as "the greatest influence on my music", although Matthews asserts that each influenced the other equally. Among later composers, Michael Tippett is acknowledged by Short as Holst's "most significant artistic successor", both in terms of compositional style and because Tippett, who succeeded Holst as director of music at Morley College, maintained the spirit of Holst's music there. Of an early encounter with Holst, Tippett later wrote: "Holst seemed to look right inside me, with an acute spiritual vision". Kennedy observes that "a new generation of listeners ... recognized in Holst the fount of much that they admired in the music of Britten and Tippett". Holst's pupil Edmund Rubbra acknowledged how he and other younger English composers had adopted Holst's economy of style: "With what enthusiasm did we pare down our music to the very bone".Short cites other English composers who are in debt to Holst, in particular William Walton and Benjamin Britten, and suggests that Holst's influence may have been felt further afield. Above all, Short recognises Holst as a composer for the people, who believed it was a composer's duty to provide music for practical purposes—festivals, celebrations, ceremonies, Christmas carols or simple hymn tunes. Thus, says Short, "many people who may never have heard any of [Holst's] major works ... have nevertheless derived great pleasure from hearing or singing such small masterpieces as the carol 'In the Bleak Midwinter'".On 27 September 2009, after a weekend of concerts at Chichester Cathedral in memory of Holst, a new memorial was unveiled to mark the 75th anniversary of the composer's death. It is inscribed with words from the text of The Hymn of Jesus: "The heavenly spheres make music for us". In April 2011 a BBC television documentary, Holst: In the Bleak Midwinter, charted Holst's life with particular reference to his support for socialism and the cause of working people.

Question: What is the last name of the person who exercised influences over both contemporaries and successors?
Answer: Holst
Warrack emphasises that Holst acquired an instinctive understanding—perhaps more so than any English composer—of the importance of folksong. In it he found "a new concept not only of how melody might be organized, but of what the implications were for the development of a mature artistic language". Holst did not found or lead a school of composition; nevertheless, he exercised influences over both contemporaries and successors. According to Short, Vaughan Williams described Holst as "the greatest influence on my music", although Matthews asserts that each influenced the other equally. Among later composers, Michael Tippett is acknowledged by Short as Holst's "most significant artistic successor", both in terms of compositional style and because Tippett, who succeeded Holst as director of music at Morley College, maintained the spirit of Holst's music there. Of an early encounter with Holst, Tippett later wrote: "Holst seemed to look right inside me, with an acute spiritual vision". Kennedy observes that "a new generation of listeners ... recognized in Holst the fount of much that they admired in the music of Britten and Tippett". Holst's pupil Edmund Rubbra acknowledged how he and other younger English composers had adopted Holst's economy of style: "With what enthusiasm did we pare down our music to the very bone".Short cites other English composers who are in debt to Holst, in particular William Walton and Benjamin Britten, and suggests that Holst's influence may have been felt further afield. Above all, Short recognises Holst as a composer for the people, who believed it was a composer's duty to provide music for practical purposes—festivals, celebrations, ceremonies, Christmas carols or simple hymn tunes. Thus, says Short, "many people who may never have heard any of [Holst's] major works ... have nevertheless derived great pleasure from hearing or singing such small masterpieces as the carol 'In the Bleak Midwinter'".On 27 September 2009, after a weekend of concerts at Chichester Cathedral in memory of Holst, a new memorial was unveiled to mark the 75th anniversary of the composer's death. It is inscribed with words from the text of The Hymn of Jesus: "The heavenly spheres make music for us". In April 2011 a BBC television documentary, Holst: In the Bleak Midwinter, charted Holst's life with particular reference to his support for socialism and the cause of working people.

Question: What are the last names of the people who influenced each other, according to Matthews?
Answer: Williams, Holst
Warrack emphasises that Holst acquired an instinctive understanding—perhaps more so than any English composer—of the importance of folksong. In it he found "a new concept not only of how melody might be organized, but of what the implications were for the development of a mature artistic language". Holst did not found or lead a school of composition; nevertheless, he exercised influences over both contemporaries and successors. According to Short, Vaughan Williams described Holst as "the greatest influence on my music", although Matthews asserts that each influenced the other equally. Among later composers, Michael Tippett is acknowledged by Short as Holst's "most significant artistic successor", both in terms of compositional style and because Tippett, who succeeded Holst as director of music at Morley College, maintained the spirit of Holst's music there. Of an early encounter with Holst, Tippett later wrote: "Holst seemed to look right inside me, with an acute spiritual vision". Kennedy observes that "a new generation of listeners ... recognized in Holst the fount of much that they admired in the music of Britten and Tippett". Holst's pupil Edmund Rubbra acknowledged how he and other younger English composers had adopted Holst's economy of style: "With what enthusiasm did we pare down our music to the very bone".Short cites other English composers who are in debt to Holst, in particular William Walton and Benjamin Britten, and suggests that Holst's influence may have been felt further afield. Above all, Short recognises Holst as a composer for the people, who believed it was a composer's duty to provide music for practical purposes—festivals, celebrations, ceremonies, Christmas carols or simple hymn tunes. Thus, says Short, "many people who may never have heard any of [Holst's] major works ... have nevertheless derived great pleasure from hearing or singing such small masterpieces as the carol 'In the Bleak Midwinter'".On 27 September 2009, after a weekend of concerts at Chichester Cathedral in memory of Holst, a new memorial was unveiled to mark the 75th anniversary of the composer's death. It is inscribed with words from the text of The Hymn of Jesus: "The heavenly spheres make music for us". In April 2011 a BBC television documentary, Holst: In the Bleak Midwinter, charted Holst's life with particular reference to his support for socialism and the cause of working people.

Question: What is the first name of the person who said Holst seemed to look inside him?
Answer: Michael
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Short, Michael (1990). Gustav Holst: The Man and his Music. Oxford: Oxford University Press. ISBN 0-19-314154-X.
Tippett, Michael (1991). Those Twentieth Century Blues. London: Pimlico. ISBN 0-7126-6059-3.
Vaughan Williams, Ralph (2008).  Hugh Cobbe (ed.). Letters of Ralph Vaughan Williams. Oxford and New York: Oxford University Press. ISBN 0-19-925797-3.

Question: What is the full name of the book written in 2008 that had the ISBN number of 0-19-925797-3?
Answer: Letters of Ralph Vaughan Williams
Prof. Post is a shy Classics professor at Potts College, who has lived a sheltered life and has little experience of life outside of academia. Feeling that the professor should see more of the real world, his assistant tricks the professor into thinking that he has inherited $750,000, allowing the professor to leave academia and see the world.

Boarding a train bound for New York City, Prof. Post encounters James, the manager of a dancing troupe that has an engagement in the backwater town of Fish's Switch. The professor becomes infatuated with one of the dancers, Pansy Peets, and accidentally alights at Fish's Switch when attempting to learn her name. He attends a performance by the dancing troupe at the local theatre, and is impressed by their act.
Feeling that the troupe should continue their act, the professor finances the troupe and takes them to perform on Broadway, but only after James insists that the act be improved to a higher standard. Post's suggestions of using inspiration from Ancient Greece are taken on board, with some minor alterations, and the show is turned into a grandiose musical revue. Although Post wishes that Pansy be the leading lady, the show is quickly turned into a star-vehicle for spoiled actress Eleanor Espere, who attempts to win over the professor in order to take total control over both the show and the money it is expected to earn at its debut. Pansy attempts to warn the professor of Eleanor's bad influence, with mixed results.
On the night of the show's debut, James discovers that Prof. Post does not really have the $750,000 he believes to possess and attempts to keep him away from the production for fear of ruining it. The professor stumbles on-stage at several points, amusing the audience who think it to be part of the act, and ensuring the success of the show. However, his antics cause Eleanor to throw a tantrum, and Prof. Post is finally able to admit his love to Pansy.

Question: Who is impressed by the dancing troupe's act?
Answer: Prof. Post
Prof. Post is a shy Classics professor at Potts College, who has lived a sheltered life and has little experience of life outside of academia. Feeling that the professor should see more of the real world, his assistant tricks the professor into thinking that he has inherited $750,000, allowing the professor to leave academia and see the world.

Boarding a train bound for New York City, Prof. Post encounters James, the manager of a dancing troupe that has an engagement in the backwater town of Fish's Switch. The professor becomes infatuated with one of the dancers, Pansy Peets, and accidentally alights at Fish's Switch when attempting to learn her name. He attends a performance by the dancing troupe at the local theatre, and is impressed by their act.
Feeling that the troupe should continue their act, the professor finances the troupe and takes them to perform on Broadway, but only after James insists that the act be improved to a higher standard. Post's suggestions of using inspiration from Ancient Greece are taken on board, with some minor alterations, and the show is turned into a grandiose musical revue. Although Post wishes that Pansy be the leading lady, the show is quickly turned into a star-vehicle for spoiled actress Eleanor Espere, who attempts to win over the professor in order to take total control over both the show and the money it is expected to earn at its debut. Pansy attempts to warn the professor of Eleanor's bad influence, with mixed results.
On the night of the show's debut, James discovers that Prof. Post does not really have the $750,000 he believes to possess and attempts to keep him away from the production for fear of ruining it. The professor stumbles on-stage at several points, amusing the audience who think it to be part of the act, and ensuring the success of the show. However, his antics cause Eleanor to throw a tantrum, and Prof. Post is finally able to admit his love to Pansy.

Question: Who doesn't realize that they don't have a lot of money?
Answer: Prof. Post
Prof. Post is a shy Classics professor at Potts College, who has lived a sheltered life and has little experience of life outside of academia. Feeling that the professor should see more of the real world, his assistant tricks the professor into thinking that he has inherited $750,000, allowing the professor to leave academia and see the world.

Boarding a train bound for New York City, Prof. Post encounters James, the manager of a dancing troupe that has an engagement in the backwater town of Fish's Switch. The professor becomes infatuated with one of the dancers, Pansy Peets, and accidentally alights at Fish's Switch when attempting to learn her name. He attends a performance by the dancing troupe at the local theatre, and is impressed by their act.
Feeling that the troupe should continue their act, the professor finances the troupe and takes them to perform on Broadway, but only after James insists that the act be improved to a higher standard. Post's suggestions of using inspiration from Ancient Greece are taken on board, with some minor alterations, and the show is turned into a grandiose musical revue. Although Post wishes that Pansy be the leading lady, the show is quickly turned into a star-vehicle for spoiled actress Eleanor Espere, who attempts to win over the professor in order to take total control over both the show and the money it is expected to earn at its debut. Pansy attempts to warn the professor of Eleanor's bad influence, with mixed results.
On the night of the show's debut, James discovers that Prof. Post does not really have the $750,000 he believes to possess and attempts to keep him away from the production for fear of ruining it. The professor stumbles on-stage at several points, amusing the audience who think it to be part of the act, and ensuring the success of the show. However, his antics cause Eleanor to throw a tantrum, and Prof. Post is finally able to admit his love to Pansy.

Question: who is the cause of Eleanor Espere's tantrum?
Answer: Prof. Post
Fifteen disparate African American men board a bus in Los Angeles bound for Washington, D.C., where they plan on attending the Million Man March. Other than their race, destination, and gender, the men have nothing in common: George is the trip organizer; Xavier is an aspiring filmmaker hoping to make a documentary of the March; Flip is the vain but charismatic and openly homophobic and sexist actor; Kyle and Randall are a homosexual couple; Gary, a biracial police officer; Jamal is a former gang banger turned devout Muslim who has evaded prosecution for the murders he committed; Evan Jr., is a petty criminal who has been permitted to break probation to attend the march on the condition that he remain handcuffed to his father, Evan Sr.
As the bus travels across country, Xavier conducts interviews with the various attendees, allowing them to express their views on race, religion, and politics. The interviews often provoke outbursts from other men on the bus, invariably leading to many political confrontations. Jeremiah, the eldest member of the group, is an 80-year-old former alcoholic who lost his job and family, has found new meaning in life and is energized by the Million Man March, and embraces his African heritage; his philosophies on the black experience and stories of precolonial Africa serve to unite the men and ease tensions and the infighting among them.
En route the bus breaks down and the men are forced to board another bus, driven by an ethnically Jewish white man named Rick. A couple of the passengers harass Rick as a white man, and Rick ultimately refuses to drive any further, citing the group's prejudice and his opposition to antisemitic remarks made by the leader of the march, Louis Farrakhan. George, himself a bus driver, accuses Rick of cultural racism, but begrudgingly agrees to cover for Rick who leaves. George takes over driving for the remainder of the trip, with help from Evan Sr.

Question: What is the name of the person who is described as being Jewish?
Answer: Rick
Fifteen disparate African American men board a bus in Los Angeles bound for Washington, D.C., where they plan on attending the Million Man March. Other than their race, destination, and gender, the men have nothing in common: George is the trip organizer; Xavier is an aspiring filmmaker hoping to make a documentary of the March; Flip is the vain but charismatic and openly homophobic and sexist actor; Kyle and Randall are a homosexual couple; Gary, a biracial police officer; Jamal is a former gang banger turned devout Muslim who has evaded prosecution for the murders he committed; Evan Jr., is a petty criminal who has been permitted to break probation to attend the march on the condition that he remain handcuffed to his father, Evan Sr.
As the bus travels across country, Xavier conducts interviews with the various attendees, allowing them to express their views on race, religion, and politics. The interviews often provoke outbursts from other men on the bus, invariably leading to many political confrontations. Jeremiah, the eldest member of the group, is an 80-year-old former alcoholic who lost his job and family, has found new meaning in life and is energized by the Million Man March, and embraces his African heritage; his philosophies on the black experience and stories of precolonial Africa serve to unite the men and ease tensions and the infighting among them.
En route the bus breaks down and the men are forced to board another bus, driven by an ethnically Jewish white man named Rick. A couple of the passengers harass Rick as a white man, and Rick ultimately refuses to drive any further, citing the group's prejudice and his opposition to antisemitic remarks made by the leader of the march, Louis Farrakhan. George, himself a bus driver, accuses Rick of cultural racism, but begrudgingly agrees to cover for Rick who leaves. George takes over driving for the remainder of the trip, with help from Evan Sr.

Question: What is the name of Evan Sr.'s son?
Answer: Evan Jr
Fifteen disparate African American men board a bus in Los Angeles bound for Washington, D.C., where they plan on attending the Million Man March. Other than their race, destination, and gender, the men have nothing in common: George is the trip organizer; Xavier is an aspiring filmmaker hoping to make a documentary of the March; Flip is the vain but charismatic and openly homophobic and sexist actor; Kyle and Randall are a homosexual couple; Gary, a biracial police officer; Jamal is a former gang banger turned devout Muslim who has evaded prosecution for the murders he committed; Evan Jr., is a petty criminal who has been permitted to break probation to attend the march on the condition that he remain handcuffed to his father, Evan Sr.
As the bus travels across country, Xavier conducts interviews with the various attendees, allowing them to express their views on race, religion, and politics. The interviews often provoke outbursts from other men on the bus, invariably leading to many political confrontations. Jeremiah, the eldest member of the group, is an 80-year-old former alcoholic who lost his job and family, has found new meaning in life and is energized by the Million Man March, and embraces his African heritage; his philosophies on the black experience and stories of precolonial Africa serve to unite the men and ease tensions and the infighting among them.
En route the bus breaks down and the men are forced to board another bus, driven by an ethnically Jewish white man named Rick. A couple of the passengers harass Rick as a white man, and Rick ultimately refuses to drive any further, citing the group's prejudice and his opposition to antisemitic remarks made by the leader of the march, Louis Farrakhan. George, himself a bus driver, accuses Rick of cultural racism, but begrudgingly agrees to cover for Rick who leaves. George takes over driving for the remainder of the trip, with help from Evan Sr.

Question: What is the name of the person who must remain handcuffed to his father?
Answer: Evan Jr