nc33/multispan_quoref huggingface dataset:
The Byelorussian SSR was one of the two Soviet republics that joined the United Nations along with the Ukrainian SSR as one of the original 51 members in 1945. After the dissolution of the Soviet Union, under international law, Belarus became the internationally recognized successor state to the Byelorussian SSR, retaining its UN membership.
Belarus and Russia have been close trading partners and diplomatic allies since the breakup of the Soviet Union. Belarus is dependent on Russia for imports of raw materials and for its export market.The union of Russia and Belarus, a supranational confederation, was established in a 1996–99 series of treaties that called for monetary union, equal rights, single citizenship, and a common foreign and defense policy. However, the future of the union has been placed in doubt because of Belarus's repeated delays of monetary union, the lack of a referendum date for the draft constitution, and a dispute over the petroleum trade.On 11 December 2007, reports emerged that a framework for the new state was discussed between both countries. On 27 May 2008, Belarusian President Lukashenko said that he had named Russian Prime Minister Vladimir Putin the "prime minister" of the Russia-Belarus alliance. The significance of this act was not immediately clear; some incorrectly speculated that Putin would become president of a unified state of Russia and Belarus after stepping down as Russian president in May 2008.Belarus was a founding member of the Commonwealth of Independent States (CIS). Belarus has trade agreements with several European Union member states (despite other member states' travel ban on Lukashenko and top officials), including neighboring Latvia, Lithuania, and Poland. Travel bans imposed by the European Union have been lifted in the past in order to allow Lukashenko to attend diplomatic meetings and also to engage his government and opposition groups in dialogue.

Question: The union of which two countries has been placed in doubt because of repeated delays of monetary union?
Answer: Russia, Belarus
The Byelorussian SSR was one of the two Soviet republics that joined the United Nations along with the Ukrainian SSR as one of the original 51 members in 1945. After the dissolution of the Soviet Union, under international law, Belarus became the internationally recognized successor state to the Byelorussian SSR, retaining its UN membership.
Belarus and Russia have been close trading partners and diplomatic allies since the breakup of the Soviet Union. Belarus is dependent on Russia for imports of raw materials and for its export market.The union of Russia and Belarus, a supranational confederation, was established in a 1996–99 series of treaties that called for monetary union, equal rights, single citizenship, and a common foreign and defense policy. However, the future of the union has been placed in doubt because of Belarus's repeated delays of monetary union, the lack of a referendum date for the draft constitution, and a dispute over the petroleum trade.On 11 December 2007, reports emerged that a framework for the new state was discussed between both countries. On 27 May 2008, Belarusian President Lukashenko said that he had named Russian Prime Minister Vladimir Putin the "prime minister" of the Russia-Belarus alliance. The significance of this act was not immediately clear; some incorrectly speculated that Putin would become president of a unified state of Russia and Belarus after stepping down as Russian president in May 2008.Belarus was a founding member of the Commonwealth of Independent States (CIS). Belarus has trade agreements with several European Union member states (despite other member states' travel ban on Lukashenko and top officials), including neighboring Latvia, Lithuania, and Poland. Travel bans imposed by the European Union have been lifted in the past in order to allow Lukashenko to attend diplomatic meetings and also to engage his government and opposition groups in dialogue.

Question: What are the names of the two countries between which a framework for a new state was discussed, according to reports that emerged on 11 December 2007?
Answer: Russia, Belarus
The Belarusian government sponsors annual cultural festivals such as the Slavianski Bazaar in Vitebsk, which showcases Belarusian performers, artists, writers, musicians, and actors. Several state holidays, such as Independence Day and Victory Day, draw big crowds and often include displays such as fireworks and military parades, especially in Vitebsk and Minsk. The government's Ministry of Culture finances events promoting Belarusian arts and culture both inside and outside the country.
Belarusian literature began with 11th- to 13th-century religious scripture, such as the 12th-century poetry of Cyril of Turaw.By the 16th century, Polotsk resident Francysk Skaryna translated the Bible into Belarusian. It was published in Prague and Vilnius sometime between 1517 and 1525, making it the first book printed in Belarus or anywhere in Eastern Europe. The modern era of Belarusian literature began in the late 19th century; one prominent writer was Yanka Kupala. Many Belarusian writers of the time, such as Uładzimir Žyłka, Kazimir Svayak, Yakub Kolas, Źmitrok Biadula, and Maksim Haretski, wrote for Nasha Niva, a Belarusian-language paper published that was previously published in Vilnius but now is published in Minsk.
After Belarus was incorporated into the Soviet Union, the Soviet government took control of the Republic's cultural affairs. At first, a policy of "Belarusianization" was followed in the newly formed Byelorussian SSR. This policy was reversed in the 1930s, and the majority of prominent Belarusian intellectuals and nationalist advocates were either exiled or killed in Stalinist purges. The free development of literature occurred only in Polish-held territory until Soviet occupation in 1939. Several poets and authors went into exile after the Nazi occupation of Belarus and would not return until the 1960s.The last major revival of Belarusian literature occurred in the 1960s with novels published by Vasil Bykaŭ and Uladzimir Karatkievich. An influential author who devoted his work to awakening the awareness of the catastrophes the country has suffered, was Ales Adamovich. He was named by Svetlana Alexievich, the Belarusian winner of the Nobel Prize in Literature 2015, as "her main teacher, who helped her to find a path of her own".

Question: What is the name of the policy that was reversed in the 1930s?
Answer: Belarusianization
The Belarusian government sponsors annual cultural festivals such as the Slavianski Bazaar in Vitebsk, which showcases Belarusian performers, artists, writers, musicians, and actors. Several state holidays, such as Independence Day and Victory Day, draw big crowds and often include displays such as fireworks and military parades, especially in Vitebsk and Minsk. The government's Ministry of Culture finances events promoting Belarusian arts and culture both inside and outside the country.
Belarusian literature began with 11th- to 13th-century religious scripture, such as the 12th-century poetry of Cyril of Turaw.By the 16th century, Polotsk resident Francysk Skaryna translated the Bible into Belarusian. It was published in Prague and Vilnius sometime between 1517 and 1525, making it the first book printed in Belarus or anywhere in Eastern Europe. The modern era of Belarusian literature began in the late 19th century; one prominent writer was Yanka Kupala. Many Belarusian writers of the time, such as Uładzimir Žyłka, Kazimir Svayak, Yakub Kolas, Źmitrok Biadula, and Maksim Haretski, wrote for Nasha Niva, a Belarusian-language paper published that was previously published in Vilnius but now is published in Minsk.
After Belarus was incorporated into the Soviet Union, the Soviet government took control of the Republic's cultural affairs. At first, a policy of "Belarusianization" was followed in the newly formed Byelorussian SSR. This policy was reversed in the 1930s, and the majority of prominent Belarusian intellectuals and nationalist advocates were either exiled or killed in Stalinist purges. The free development of literature occurred only in Polish-held territory until Soviet occupation in 1939. Several poets and authors went into exile after the Nazi occupation of Belarus and would not return until the 1960s.The last major revival of Belarusian literature occurred in the 1960s with novels published by Vasil Bykaŭ and Uladzimir Karatkievich. An influential author who devoted his work to awakening the awareness of the catastrophes the country has suffered, was Ales Adamovich. He was named by Svetlana Alexievich, the Belarusian winner of the Nobel Prize in Literature 2015, as "her main teacher, who helped her to find a path of her own".

Question: What is the full name of the person whose main teacher, Aadamovich, helped her to find a path of her own?
Answer: Svetlana Alexievich
The Belarusian government sponsors annual cultural festivals such as the Slavianski Bazaar in Vitebsk, which showcases Belarusian performers, artists, writers, musicians, and actors. Several state holidays, such as Independence Day and Victory Day, draw big crowds and often include displays such as fireworks and military parades, especially in Vitebsk and Minsk. The government's Ministry of Culture finances events promoting Belarusian arts and culture both inside and outside the country.
Belarusian literature began with 11th- to 13th-century religious scripture, such as the 12th-century poetry of Cyril of Turaw.By the 16th century, Polotsk resident Francysk Skaryna translated the Bible into Belarusian. It was published in Prague and Vilnius sometime between 1517 and 1525, making it the first book printed in Belarus or anywhere in Eastern Europe. The modern era of Belarusian literature began in the late 19th century; one prominent writer was Yanka Kupala. Many Belarusian writers of the time, such as Uładzimir Žyłka, Kazimir Svayak, Yakub Kolas, Źmitrok Biadula, and Maksim Haretski, wrote for Nasha Niva, a Belarusian-language paper published that was previously published in Vilnius but now is published in Minsk.
After Belarus was incorporated into the Soviet Union, the Soviet government took control of the Republic's cultural affairs. At first, a policy of "Belarusianization" was followed in the newly formed Byelorussian SSR. This policy was reversed in the 1930s, and the majority of prominent Belarusian intellectuals and nationalist advocates were either exiled or killed in Stalinist purges. The free development of literature occurred only in Polish-held territory until Soviet occupation in 1939. Several poets and authors went into exile after the Nazi occupation of Belarus and would not return until the 1960s.The last major revival of Belarusian literature occurred in the 1960s with novels published by Vasil Bykaŭ and Uladzimir Karatkievich. An influential author who devoted his work to awakening the awareness of the catastrophes the country has suffered, was Ales Adamovich. He was named by Svetlana Alexievich, the Belarusian winner of the Nobel Prize in Literature 2015, as "her main teacher, who helped her to find a path of her own".

Question: What is the full name of the person who was named by Alexievich as her "main teacher"?
Answer: Ales Adamovich
The Belarusian government sponsors annual cultural festivals such as the Slavianski Bazaar in Vitebsk, which showcases Belarusian performers, artists, writers, musicians, and actors. Several state holidays, such as Independence Day and Victory Day, draw big crowds and often include displays such as fireworks and military parades, especially in Vitebsk and Minsk. The government's Ministry of Culture finances events promoting Belarusian arts and culture both inside and outside the country.
Belarusian literature began with 11th- to 13th-century religious scripture, such as the 12th-century poetry of Cyril of Turaw.By the 16th century, Polotsk resident Francysk Skaryna translated the Bible into Belarusian. It was published in Prague and Vilnius sometime between 1517 and 1525, making it the first book printed in Belarus or anywhere in Eastern Europe. The modern era of Belarusian literature began in the late 19th century; one prominent writer was Yanka Kupala. Many Belarusian writers of the time, such as Uładzimir Žyłka, Kazimir Svayak, Yakub Kolas, Źmitrok Biadula, and Maksim Haretski, wrote for Nasha Niva, a Belarusian-language paper published that was previously published in Vilnius but now is published in Minsk.
After Belarus was incorporated into the Soviet Union, the Soviet government took control of the Republic's cultural affairs. At first, a policy of "Belarusianization" was followed in the newly formed Byelorussian SSR. This policy was reversed in the 1930s, and the majority of prominent Belarusian intellectuals and nationalist advocates were either exiled or killed in Stalinist purges. The free development of literature occurred only in Polish-held territory until Soviet occupation in 1939. Several poets and authors went into exile after the Nazi occupation of Belarus and would not return until the 1960s.The last major revival of Belarusian literature occurred in the 1960s with novels published by Vasil Bykaŭ and Uladzimir Karatkievich. An influential author who devoted his work to awakening the awareness of the catastrophes the country has suffered, was Ales Adamovich. He was named by Svetlana Alexievich, the Belarusian winner of the Nobel Prize in Literature 2015, as "her main teacher, who helped her to find a path of her own".

Question: Whose work was devoted to awakening an awareness of the catastrophes the country suffered?
Answer: Ales Adamovich
In February 1953 Vaughan Williams and Ursula were married. He left the Dorking house and they took a lease of 10 Hanover Terrace, Regent's Park, London. It was the year of Queen Elizabeth II's coronation; Vaughan Williams's contribution was an arrangement of the Old Hundredth psalm tune, and a new setting of "O taste and see" from Psalm 34, performed at the service in Westminster Abbey.
Having returned to live in London, Vaughan Williams, with Ursula's encouragement, became much more active socially and in pro bono publico activities. He was a leading figure in the Society for the Promotion of New Music, and in 1954 he set up and endowed the Vaughan Williams Trust to support young composers and promote new or neglected music. He and his wife travelled extensively in Europe, and in 1954 he visited the US once again, having been invited to lecture at Cornell and other universities and to conduct. He received an enthusiastic welcome from large audiences, and was overwhelmed at the warmth of his reception. Kennedy describes it as "like a musical state occasion".Of Vaughan Williams's works from the 1950s, Grove makes particular mention of Three Shakespeare Songs (1951) for unaccompanied chorus, the Christmas cantata Hodie (1953–1954), the Violin Sonata, and, most particularly, the Ten Blake Songs (1957) for voice and oboe, "a masterpiece of economy and precision". Unfinished works from the decade were a cello concerto and a new opera, Thomas the Rhymer. The predominant works of the 1950s were his three last symphonies. The seventh—officially unnumbered, and titled Sinfonia antartica—divided opinion; the score is a reworking of music Vaughan Williams had written for the 1948 film Scott of the Antarctic, and some critics thought it not truly symphonic. The Eighth, though wistful in parts, is predominantly lighthearted in tone; it was received enthusiastically at its premiere in 1956, given by the Hallé Orchestra under the dedicatee, Sir John Barbirolli. The Ninth, premiered at a Royal Philharmonic Society concert conducted by Sir Malcolm Sargent in April 1958, puzzled critics with its sombre, questing tone, and did not immediately achieve the recognition it later gained.Having been in excellent health, Vaughan Williams died suddenly in the early hours of 26 August 1958 at Hanover Terrace, aged 85. Two days later, after a private funeral at Golders Green, he was cremated. On 19 September, at a crowded memorial service, his ashes were interred near the burial plots of Purcell and Stanford in the north choir aisle of Westminster Abbey.

Question: What is the first name of the person who was a leading figure in the Society for the Promotion of New Music?
Answer: Vaughan
In February 1953 Vaughan Williams and Ursula were married. He left the Dorking house and they took a lease of 10 Hanover Terrace, Regent's Park, London. It was the year of Queen Elizabeth II's coronation; Vaughan Williams's contribution was an arrangement of the Old Hundredth psalm tune, and a new setting of "O taste and see" from Psalm 34, performed at the service in Westminster Abbey.
Having returned to live in London, Vaughan Williams, with Ursula's encouragement, became much more active socially and in pro bono publico activities. He was a leading figure in the Society for the Promotion of New Music, and in 1954 he set up and endowed the Vaughan Williams Trust to support young composers and promote new or neglected music. He and his wife travelled extensively in Europe, and in 1954 he visited the US once again, having been invited to lecture at Cornell and other universities and to conduct. He received an enthusiastic welcome from large audiences, and was overwhelmed at the warmth of his reception. Kennedy describes it as "like a musical state occasion".Of Vaughan Williams's works from the 1950s, Grove makes particular mention of Three Shakespeare Songs (1951) for unaccompanied chorus, the Christmas cantata Hodie (1953–1954), the Violin Sonata, and, most particularly, the Ten Blake Songs (1957) for voice and oboe, "a masterpiece of economy and precision". Unfinished works from the decade were a cello concerto and a new opera, Thomas the Rhymer. The predominant works of the 1950s were his three last symphonies. The seventh—officially unnumbered, and titled Sinfonia antartica—divided opinion; the score is a reworking of music Vaughan Williams had written for the 1948 film Scott of the Antarctic, and some critics thought it not truly symphonic. The Eighth, though wistful in parts, is predominantly lighthearted in tone; it was received enthusiastically at its premiere in 1956, given by the Hallé Orchestra under the dedicatee, Sir John Barbirolli. The Ninth, premiered at a Royal Philharmonic Society concert conducted by Sir Malcolm Sargent in April 1958, puzzled critics with its sombre, questing tone, and did not immediately achieve the recognition it later gained.Having been in excellent health, Vaughan Williams died suddenly in the early hours of 26 August 1958 at Hanover Terrace, aged 85. Two days later, after a private funeral at Golders Green, he was cremated. On 19 September, at a crowded memorial service, his ashes were interred near the burial plots of Purcell and Stanford in the north choir aisle of Westminster Abbey.

Question: What is the first name of the person whose predominant works of the 1950s were his three last symphonies?
Answer: Vaughan
In February 1953 Vaughan Williams and Ursula were married. He left the Dorking house and they took a lease of 10 Hanover Terrace, Regent's Park, London. It was the year of Queen Elizabeth II's coronation; Vaughan Williams's contribution was an arrangement of the Old Hundredth psalm tune, and a new setting of "O taste and see" from Psalm 34, performed at the service in Westminster Abbey.
Having returned to live in London, Vaughan Williams, with Ursula's encouragement, became much more active socially and in pro bono publico activities. He was a leading figure in the Society for the Promotion of New Music, and in 1954 he set up and endowed the Vaughan Williams Trust to support young composers and promote new or neglected music. He and his wife travelled extensively in Europe, and in 1954 he visited the US once again, having been invited to lecture at Cornell and other universities and to conduct. He received an enthusiastic welcome from large audiences, and was overwhelmed at the warmth of his reception. Kennedy describes it as "like a musical state occasion".Of Vaughan Williams's works from the 1950s, Grove makes particular mention of Three Shakespeare Songs (1951) for unaccompanied chorus, the Christmas cantata Hodie (1953–1954), the Violin Sonata, and, most particularly, the Ten Blake Songs (1957) for voice and oboe, "a masterpiece of economy and precision". Unfinished works from the decade were a cello concerto and a new opera, Thomas the Rhymer. The predominant works of the 1950s were his three last symphonies. The seventh—officially unnumbered, and titled Sinfonia antartica—divided opinion; the score is a reworking of music Vaughan Williams had written for the 1948 film Scott of the Antarctic, and some critics thought it not truly symphonic. The Eighth, though wistful in parts, is predominantly lighthearted in tone; it was received enthusiastically at its premiere in 1956, given by the Hallé Orchestra under the dedicatee, Sir John Barbirolli. The Ninth, premiered at a Royal Philharmonic Society concert conducted by Sir Malcolm Sargent in April 1958, puzzled critics with its sombre, questing tone, and did not immediately achieve the recognition it later gained.Having been in excellent health, Vaughan Williams died suddenly in the early hours of 26 August 1958 at Hanover Terrace, aged 85. Two days later, after a private funeral at Golders Green, he was cremated. On 19 September, at a crowded memorial service, his ashes were interred near the burial plots of Purcell and Stanford in the north choir aisle of Westminster Abbey.

Question: What is the title of the score some critics thought to be not truly symphonic?
Answer: Sinfonia antartica
In February 1953 Vaughan Williams and Ursula were married. He left the Dorking house and they took a lease of 10 Hanover Terrace, Regent's Park, London. It was the year of Queen Elizabeth II's coronation; Vaughan Williams's contribution was an arrangement of the Old Hundredth psalm tune, and a new setting of "O taste and see" from Psalm 34, performed at the service in Westminster Abbey.
Having returned to live in London, Vaughan Williams, with Ursula's encouragement, became much more active socially and in pro bono publico activities. He was a leading figure in the Society for the Promotion of New Music, and in 1954 he set up and endowed the Vaughan Williams Trust to support young composers and promote new or neglected music. He and his wife travelled extensively in Europe, and in 1954 he visited the US once again, having been invited to lecture at Cornell and other universities and to conduct. He received an enthusiastic welcome from large audiences, and was overwhelmed at the warmth of his reception. Kennedy describes it as "like a musical state occasion".Of Vaughan Williams's works from the 1950s, Grove makes particular mention of Three Shakespeare Songs (1951) for unaccompanied chorus, the Christmas cantata Hodie (1953–1954), the Violin Sonata, and, most particularly, the Ten Blake Songs (1957) for voice and oboe, "a masterpiece of economy and precision". Unfinished works from the decade were a cello concerto and a new opera, Thomas the Rhymer. The predominant works of the 1950s were his three last symphonies. The seventh—officially unnumbered, and titled Sinfonia antartica—divided opinion; the score is a reworking of music Vaughan Williams had written for the 1948 film Scott of the Antarctic, and some critics thought it not truly symphonic. The Eighth, though wistful in parts, is predominantly lighthearted in tone; it was received enthusiastically at its premiere in 1956, given by the Hallé Orchestra under the dedicatee, Sir John Barbirolli. The Ninth, premiered at a Royal Philharmonic Society concert conducted by Sir Malcolm Sargent in April 1958, puzzled critics with its sombre, questing tone, and did not immediately achieve the recognition it later gained.Having been in excellent health, Vaughan Williams died suddenly in the early hours of 26 August 1958 at Hanover Terrace, aged 85. Two days later, after a private funeral at Golders Green, he was cremated. On 19 September, at a crowded memorial service, his ashes were interred near the burial plots of Purcell and Stanford in the north choir aisle of Westminster Abbey.

Question: What is the first name of the person who, after a private funeral at Golders Green, was cremated?
Answer: Vaughan
In February 1953 Vaughan Williams and Ursula were married. He left the Dorking house and they took a lease of 10 Hanover Terrace, Regent's Park, London. It was the year of Queen Elizabeth II's coronation; Vaughan Williams's contribution was an arrangement of the Old Hundredth psalm tune, and a new setting of "O taste and see" from Psalm 34, performed at the service in Westminster Abbey.
Having returned to live in London, Vaughan Williams, with Ursula's encouragement, became much more active socially and in pro bono publico activities. He was a leading figure in the Society for the Promotion of New Music, and in 1954 he set up and endowed the Vaughan Williams Trust to support young composers and promote new or neglected music. He and his wife travelled extensively in Europe, and in 1954 he visited the US once again, having been invited to lecture at Cornell and other universities and to conduct. He received an enthusiastic welcome from large audiences, and was overwhelmed at the warmth of his reception. Kennedy describes it as "like a musical state occasion".Of Vaughan Williams's works from the 1950s, Grove makes particular mention of Three Shakespeare Songs (1951) for unaccompanied chorus, the Christmas cantata Hodie (1953–1954), the Violin Sonata, and, most particularly, the Ten Blake Songs (1957) for voice and oboe, "a masterpiece of economy and precision". Unfinished works from the decade were a cello concerto and a new opera, Thomas the Rhymer. The predominant works of the 1950s were his three last symphonies. The seventh—officially unnumbered, and titled Sinfonia antartica—divided opinion; the score is a reworking of music Vaughan Williams had written for the 1948 film Scott of the Antarctic, and some critics thought it not truly symphonic. The Eighth, though wistful in parts, is predominantly lighthearted in tone; it was received enthusiastically at its premiere in 1956, given by the Hallé Orchestra under the dedicatee, Sir John Barbirolli. The Ninth, premiered at a Royal Philharmonic Society concert conducted by Sir Malcolm Sargent in April 1958, puzzled critics with its sombre, questing tone, and did not immediately achieve the recognition it later gained.Having been in excellent health, Vaughan Williams died suddenly in the early hours of 26 August 1958 at Hanover Terrace, aged 85. Two days later, after a private funeral at Golders Green, he was cremated. On 19 September, at a crowded memorial service, his ashes were interred near the burial plots of Purcell and Stanford in the north choir aisle of Westminster Abbey.

Question: What is the last name of the person who received an enthusiastic welcome from large audiences, and was overwhelmed at the warmth of his reception?
Answer: Williams
In February 1953 Vaughan Williams and Ursula were married. He left the Dorking house and they took a lease of 10 Hanover Terrace, Regent's Park, London. It was the year of Queen Elizabeth II's coronation; Vaughan Williams's contribution was an arrangement of the Old Hundredth psalm tune, and a new setting of "O taste and see" from Psalm 34, performed at the service in Westminster Abbey.
Having returned to live in London, Vaughan Williams, with Ursula's encouragement, became much more active socially and in pro bono publico activities. He was a leading figure in the Society for the Promotion of New Music, and in 1954 he set up and endowed the Vaughan Williams Trust to support young composers and promote new or neglected music. He and his wife travelled extensively in Europe, and in 1954 he visited the US once again, having been invited to lecture at Cornell and other universities and to conduct. He received an enthusiastic welcome from large audiences, and was overwhelmed at the warmth of his reception. Kennedy describes it as "like a musical state occasion".Of Vaughan Williams's works from the 1950s, Grove makes particular mention of Three Shakespeare Songs (1951) for unaccompanied chorus, the Christmas cantata Hodie (1953–1954), the Violin Sonata, and, most particularly, the Ten Blake Songs (1957) for voice and oboe, "a masterpiece of economy and precision". Unfinished works from the decade were a cello concerto and a new opera, Thomas the Rhymer. The predominant works of the 1950s were his three last symphonies. The seventh—officially unnumbered, and titled Sinfonia antartica—divided opinion; the score is a reworking of music Vaughan Williams had written for the 1948 film Scott of the Antarctic, and some critics thought it not truly symphonic. The Eighth, though wistful in parts, is predominantly lighthearted in tone; it was received enthusiastically at its premiere in 1956, given by the Hallé Orchestra under the dedicatee, Sir John Barbirolli. The Ninth, premiered at a Royal Philharmonic Society concert conducted by Sir Malcolm Sargent in April 1958, puzzled critics with its sombre, questing tone, and did not immediately achieve the recognition it later gained.Having been in excellent health, Vaughan Williams died suddenly in the early hours of 26 August 1958 at Hanover Terrace, aged 85. Two days later, after a private funeral at Golders Green, he was cremated. On 19 September, at a crowded memorial service, his ashes were interred near the burial plots of Purcell and Stanford in the north choir aisle of Westminster Abbey.

Question: What are the first names of the people who travelled extensively in Europe?
Answer: Vaughan, Ursula
The first three symphonies, to which Vaughan Williams assigned titles rather than numbers, form a sub-group within the nine, having programmatic elements, absent from the later six.A Sea Symphony (1910), the only one of the series to include a part for full choir, differs from most earlier choral symphonies in that the choir sings in all the movements. The extent to which it is a true symphony has been debated; in a 2013 study, Alain Frogley describes it as a hybrid work, with elements of symphony, oratorio and cantata. Its sheer length—about eighty minutes—was unprecedented for an English symphonic work, and within its thoroughly tonal construction it contains harmonic dissonances that pre-echo the early works of Stravinsky which were soon to follow.A London Symphony (1911–1913) which the composer later observed might more accurately be called a "symphony by a Londoner", is for the most part not overtly pictorial in its presentation of London. Vaughan Williams insisted that it is "self-expressive, and must stand or fall as 'absolute' music". There are some references to the urban soundscape: brief impressions of street music, with the sound of the barrel organ mimicked by the orchestra; the characteristic chant of the lavender-seller; the jingle of hansom cabs; and the chimes of Big Ben played by harp and clarinet. But commentators have heard—and the composer never denied or confirmed—some social comment in sinister echoes at the end of the scherzo and an orchestral outburst of pain and despair at the opening of the finale. Schwartz comments that the symphony, in its "unified presentation of widely heterogeneous elements", is "very much like the city itself". Vaughan Williams said in his later years that this was his favourite of the symphonies.The last of the first group is A Pastoral Symphony (1921). The first three movements are for orchestra alone; a wordless solo soprano or tenor voice is added in the finale. Despite the title the symphony draws little on the folk-songs beloved of the composer, and the pastoral landscape evoked is not a tranquil English scene, but the French countryside ravaged by war. Some English musicians who had not fought in the First World War misunderstood the work and heard only the slow tempi and quiet tone, failing to notice the character of a requiem in the music and mistaking the piece for a rustic idyll. Kennedy comments that it was not until after the Second World War that "the spectral 'Last Post' in the second movement and the girl's lamenting voice in the finale" were widely noticed and understood.

Question: What is the title of the work within whose thoroughly tonal construction it contains harmonic dissonances that pre-echo the early works of Stravinsky which were soon to follow?
Answer: A Sea Symphony
The first three symphonies, to which Vaughan Williams assigned titles rather than numbers, form a sub-group within the nine, having programmatic elements, absent from the later six.A Sea Symphony (1910), the only one of the series to include a part for full choir, differs from most earlier choral symphonies in that the choir sings in all the movements. The extent to which it is a true symphony has been debated; in a 2013 study, Alain Frogley describes it as a hybrid work, with elements of symphony, oratorio and cantata. Its sheer length—about eighty minutes—was unprecedented for an English symphonic work, and within its thoroughly tonal construction it contains harmonic dissonances that pre-echo the early works of Stravinsky which were soon to follow.A London Symphony (1911–1913) which the composer later observed might more accurately be called a "symphony by a Londoner", is for the most part not overtly pictorial in its presentation of London. Vaughan Williams insisted that it is "self-expressive, and must stand or fall as 'absolute' music". There are some references to the urban soundscape: brief impressions of street music, with the sound of the barrel organ mimicked by the orchestra; the characteristic chant of the lavender-seller; the jingle of hansom cabs; and the chimes of Big Ben played by harp and clarinet. But commentators have heard—and the composer never denied or confirmed—some social comment in sinister echoes at the end of the scherzo and an orchestral outburst of pain and despair at the opening of the finale. Schwartz comments that the symphony, in its "unified presentation of widely heterogeneous elements", is "very much like the city itself". Vaughan Williams said in his later years that this was his favourite of the symphonies.The last of the first group is A Pastoral Symphony (1921). The first three movements are for orchestra alone; a wordless solo soprano or tenor voice is added in the finale. Despite the title the symphony draws little on the folk-songs beloved of the composer, and the pastoral landscape evoked is not a tranquil English scene, but the French countryside ravaged by war. Some English musicians who had not fought in the First World War misunderstood the work and heard only the slow tempi and quiet tone, failing to notice the character of a requiem in the music and mistaking the piece for a rustic idyll. Kennedy comments that it was not until after the Second World War that "the spectral 'Last Post' in the second movement and the girl's lamenting voice in the finale" were widely noticed and understood.

Question: What is the name of the symphony Vaughan Williams said in later years was his favorite?
Answer: A London Symphony
The first three symphonies, to which Vaughan Williams assigned titles rather than numbers, form a sub-group within the nine, having programmatic elements, absent from the later six.A Sea Symphony (1910), the only one of the series to include a part for full choir, differs from most earlier choral symphonies in that the choir sings in all the movements. The extent to which it is a true symphony has been debated; in a 2013 study, Alain Frogley describes it as a hybrid work, with elements of symphony, oratorio and cantata. Its sheer length—about eighty minutes—was unprecedented for an English symphonic work, and within its thoroughly tonal construction it contains harmonic dissonances that pre-echo the early works of Stravinsky which were soon to follow.A London Symphony (1911–1913) which the composer later observed might more accurately be called a "symphony by a Londoner", is for the most part not overtly pictorial in its presentation of London. Vaughan Williams insisted that it is "self-expressive, and must stand or fall as 'absolute' music". There are some references to the urban soundscape: brief impressions of street music, with the sound of the barrel organ mimicked by the orchestra; the characteristic chant of the lavender-seller; the jingle of hansom cabs; and the chimes of Big Ben played by harp and clarinet. But commentators have heard—and the composer never denied or confirmed—some social comment in sinister echoes at the end of the scherzo and an orchestral outburst of pain and despair at the opening of the finale. Schwartz comments that the symphony, in its "unified presentation of widely heterogeneous elements", is "very much like the city itself". Vaughan Williams said in his later years that this was his favourite of the symphonies.The last of the first group is A Pastoral Symphony (1921). The first three movements are for orchestra alone; a wordless solo soprano or tenor voice is added in the finale. Despite the title the symphony draws little on the folk-songs beloved of the composer, and the pastoral landscape evoked is not a tranquil English scene, but the French countryside ravaged by war. Some English musicians who had not fought in the First World War misunderstood the work and heard only the slow tempi and quiet tone, failing to notice the character of a requiem in the music and mistaking the piece for a rustic idyll. Kennedy comments that it was not until after the Second World War that "the spectral 'Last Post' in the second movement and the girl's lamenting voice in the finale" were widely noticed and understood.

Question: What is the title of the symphony that draws little on the folk-songs beloved by the composer?
Answer: A Pastoral Symphony
The first three symphonies, to which Vaughan Williams assigned titles rather than numbers, form a sub-group within the nine, having programmatic elements, absent from the later six.A Sea Symphony (1910), the only one of the series to include a part for full choir, differs from most earlier choral symphonies in that the choir sings in all the movements. The extent to which it is a true symphony has been debated; in a 2013 study, Alain Frogley describes it as a hybrid work, with elements of symphony, oratorio and cantata. Its sheer length—about eighty minutes—was unprecedented for an English symphonic work, and within its thoroughly tonal construction it contains harmonic dissonances that pre-echo the early works of Stravinsky which were soon to follow.A London Symphony (1911–1913) which the composer later observed might more accurately be called a "symphony by a Londoner", is for the most part not overtly pictorial in its presentation of London. Vaughan Williams insisted that it is "self-expressive, and must stand or fall as 'absolute' music". There are some references to the urban soundscape: brief impressions of street music, with the sound of the barrel organ mimicked by the orchestra; the characteristic chant of the lavender-seller; the jingle of hansom cabs; and the chimes of Big Ben played by harp and clarinet. But commentators have heard—and the composer never denied or confirmed—some social comment in sinister echoes at the end of the scherzo and an orchestral outburst of pain and despair at the opening of the finale. Schwartz comments that the symphony, in its "unified presentation of widely heterogeneous elements", is "very much like the city itself". Vaughan Williams said in his later years that this was his favourite of the symphonies.The last of the first group is A Pastoral Symphony (1921). The first three movements are for orchestra alone; a wordless solo soprano or tenor voice is added in the finale. Despite the title the symphony draws little on the folk-songs beloved of the composer, and the pastoral landscape evoked is not a tranquil English scene, but the French countryside ravaged by war. Some English musicians who had not fought in the First World War misunderstood the work and heard only the slow tempi and quiet tone, failing to notice the character of a requiem in the music and mistaking the piece for a rustic idyll. Kennedy comments that it was not until after the Second World War that "the spectral 'Last Post' in the second movement and the girl's lamenting voice in the finale" were widely noticed and understood.

Question: What is the name of the work some English musicians who had not fought in the First World War misunderstood?
Answer: A Pastoral Symphony
The first three symphonies, to which Vaughan Williams assigned titles rather than numbers, form a sub-group within the nine, having programmatic elements, absent from the later six.A Sea Symphony (1910), the only one of the series to include a part for full choir, differs from most earlier choral symphonies in that the choir sings in all the movements. The extent to which it is a true symphony has been debated; in a 2013 study, Alain Frogley describes it as a hybrid work, with elements of symphony, oratorio and cantata. Its sheer length—about eighty minutes—was unprecedented for an English symphonic work, and within its thoroughly tonal construction it contains harmonic dissonances that pre-echo the early works of Stravinsky which were soon to follow.A London Symphony (1911–1913) which the composer later observed might more accurately be called a "symphony by a Londoner", is for the most part not overtly pictorial in its presentation of London. Vaughan Williams insisted that it is "self-expressive, and must stand or fall as 'absolute' music". There are some references to the urban soundscape: brief impressions of street music, with the sound of the barrel organ mimicked by the orchestra; the characteristic chant of the lavender-seller; the jingle of hansom cabs; and the chimes of Big Ben played by harp and clarinet. But commentators have heard—and the composer never denied or confirmed—some social comment in sinister echoes at the end of the scherzo and an orchestral outburst of pain and despair at the opening of the finale. Schwartz comments that the symphony, in its "unified presentation of widely heterogeneous elements", is "very much like the city itself". Vaughan Williams said in his later years that this was his favourite of the symphonies.The last of the first group is A Pastoral Symphony (1921). The first three movements are for orchestra alone; a wordless solo soprano or tenor voice is added in the finale. Despite the title the symphony draws little on the folk-songs beloved of the composer, and the pastoral landscape evoked is not a tranquil English scene, but the French countryside ravaged by war. Some English musicians who had not fought in the First World War misunderstood the work and heard only the slow tempi and quiet tone, failing to notice the character of a requiem in the music and mistaking the piece for a rustic idyll. Kennedy comments that it was not until after the Second World War that "the spectral 'Last Post' in the second movement and the girl's lamenting voice in the finale" were widely noticed and understood.

Question: What is the name of the piece mistaken for a rustic idyll by some English musicians?
Answer: A Pastoral Symphony
The first three symphonies, to which Vaughan Williams assigned titles rather than numbers, form a sub-group within the nine, having programmatic elements, absent from the later six.A Sea Symphony (1910), the only one of the series to include a part for full choir, differs from most earlier choral symphonies in that the choir sings in all the movements. The extent to which it is a true symphony has been debated; in a 2013 study, Alain Frogley describes it as a hybrid work, with elements of symphony, oratorio and cantata. Its sheer length—about eighty minutes—was unprecedented for an English symphonic work, and within its thoroughly tonal construction it contains harmonic dissonances that pre-echo the early works of Stravinsky which were soon to follow.A London Symphony (1911–1913) which the composer later observed might more accurately be called a "symphony by a Londoner", is for the most part not overtly pictorial in its presentation of London. Vaughan Williams insisted that it is "self-expressive, and must stand or fall as 'absolute' music". There are some references to the urban soundscape: brief impressions of street music, with the sound of the barrel organ mimicked by the orchestra; the characteristic chant of the lavender-seller; the jingle of hansom cabs; and the chimes of Big Ben played by harp and clarinet. But commentators have heard—and the composer never denied or confirmed—some social comment in sinister echoes at the end of the scherzo and an orchestral outburst of pain and despair at the opening of the finale. Schwartz comments that the symphony, in its "unified presentation of widely heterogeneous elements", is "very much like the city itself". Vaughan Williams said in his later years that this was his favourite of the symphonies.The last of the first group is A Pastoral Symphony (1921). The first three movements are for orchestra alone; a wordless solo soprano or tenor voice is added in the finale. Despite the title the symphony draws little on the folk-songs beloved of the composer, and the pastoral landscape evoked is not a tranquil English scene, but the French countryside ravaged by war. Some English musicians who had not fought in the First World War misunderstood the work and heard only the slow tempi and quiet tone, failing to notice the character of a requiem in the music and mistaking the piece for a rustic idyll. Kennedy comments that it was not until after the Second World War that "the spectral 'Last Post' in the second movement and the girl's lamenting voice in the finale" were widely noticed and understood.

Question: What are the precise names of the first three symphonies to which Vaughan Williams assigned titles rather than numbers?
Answer: A Sea Symphony, A London Symphony, A Pastoral Symphony