nc33/multispan_quoref huggingface dataset:
Seoba Srba (English: Migration of the Serbs) is a set of four similar oil paintings by the Serbian artist Paja Jovanović that depict Serbs, led by Archbishop Arsenije III, fleeing Old Serbia during the Great Serb Migration of 1690–91. The first was commissioned in 1895 by Georgije Branković, the Patriarch of Karlovci, to be displayed at the following year's Budapest Millennium Exhibition. In the view of the Serbian clergy, it would serve to legitimize Serb claims to religious autonomy and partial self-administration in Austria-Hungary by upholding the contention that Serbs left their homeland at the behest of the Holy Roman Emperor to protect the Habsburg Monarchy's borders.
Measuring 380 by 580 centimetres (150 by 230 in), the first painting was completed in 1896, and presented to Patriarch Georgije later that year. Dissatisfied, the Patriarch asked Jovanović to adjust his work to conform with the Church's view of the migration. Though Jovanović made the changes relatively quickly, he could not render them in time for the painting to be displayed in Budapest, and it therefore had to be unveiled at the Archbishop's palace in Sremski Karlovci. Jovanović went on to complete a total of four versions of the painting, three of which survive. The first version is on display at the patriarchate building of the Serbian Orthodox Church in Belgrade, the second at the Pančevo Museum, and the fourth at Princess Ljubica's Residence, in Belgrade. Migration of the Serbs holds iconic status in Serbian popular culture, and several authors repute it to be one of Jovanović's finest achievements.

Question: What is the Serbian title of the first painting completed in 1896?
Answer: Seoba Srba
In the early 1890s, Hungarian officials announced plans for a Budapest Millennium Exhibition to be held in 1896; it was intended to mark the 1,000th anniversary of the Hungarian conquest of the Carpathian Basin, reaffirm Hungary's "national and territorial legitimacy" and the Hungarian people's "natural and historical right in the areas they inhabited." The Exhibition was to be held at Budapest's City Park. Exhibits were to be divided into twelve distinct areas, one of which was visual art. The showpiece of the art exhibit was The Conquest of the Carpathian Basin, a painting by Hungary's foremost history painter, Mihály Munkácsy, that was located in the Hungarian Parliament Building. Several pavilions displaying the cultural and industrial achievements of non-Hungarians living in the Hungarian-administered territories of Austria-Hungary were also built, including one for the Serbs.In the spring of 1895, on the orders of the Patriarch of Karlovci, Georgije I, the Congress Board of Sremski Karlovci commissioned the young realist Paja Jovanović to paint Migration of the Serbs, intending for it to be displayed as part of the Serb pavilion. Georgije had originally approached the artist Uroš Predić, but Predić said it would take him two years to complete the painting. Jovanović assured the Patriarch that he could finish the work in eight months. The painting was one of two works that Jovanović was hired to paint for the Exhibition, the other being the Vršac triptych, which was commissioned by the Vršac city council.In the eyes of the clergy, Migration of the Serbs would help legitimize Serb claims to religious autonomy and partial self-administration in Austria-Hungary. The official Church narrative held that Leopold had requested that the Serbs of Kosovo, Macedonia and the Sandžak settle along the Ottoman–Habsburg frontier to create a buffer against further Ottoman encroachment, and Church officials intended for Jovanović's painting to reflect this view. Hence, the painting had significant political implications. Habsburg Serbs asserted that the agreement between Arsenije and Leopold legitimized their claim to the lands they inhabited. Croatian nationalists decried the Serbs as "uninvited guests" who only acquired Leopold's pledge of autonomy after they had migrated to the Habsburg lands. Migration of the Serbs was thus intended to challenge the historical and political narratives being forwarded by the Croatian and Hungarian painters whose works were also going to be displayed.

Question: What was the full name of the person who said it would take him two years to complete the painting?
Answer: Uroš Predić
The original oil painting measures 380 by 580 centimetres (150 by 230 in). It depicts Arsenije leading tens of thousands of Serbs into exile, riding a horse and flanked by a Serb flag. In direct reference to the Bible, the image is reminiscent to that of Moses leading the chosen people out of Egypt. The irony, Judah notes, is that the Patriarch is leading his people away from their promised land. The Patriarch and four other figures dominate the composition, staggering unevenly across the canvas as opposed to moving in a straight line. "They punctuate the foreground," Filipovitch-Robinson writes, "directing the eye through the diagonals and curves of their bodies and gesture to the next line of figures behind them. Each subsequent line leads to the next." All age groups are represented in the painting, and Jovanović pays special attention to their facial details. Thousands of figures on horseback and on foot appear in the background before eventually receding into the horizon. The left background shows Serbian warriors pointing their lances at the sky while the right background shows lumber wagons carrying families into exile. At the right foreground, an old man herds his sheep. To the right of the Patriarch, a mother and her infant son sit atop a horse carrying their belongings. The woman is the young wife of militia leader Jovan Monasterlija and the child his son. A mustachioed warrior walks before them with swords fastened to his belt and a rifle resting against his shoulder, "striding purposefully into the future". The warrior's right arm is smeared with blood and bound by a white sling.

Question: What is the last name of the militia leader that the Patriarchin the painting is married to?
Answer: Monasterlija
The painting was well-received in Serbia and abroad; it has since attained iconic status in Serbian popular culture. An allusion to it is made in Emir Kusturica's 1995 film Underground, in which war refugees are depicted marching towards Belgrade in similar fashion, following the German bombing of the city in April 1941. Several authors have noted similarities between Jovanović's depiction of the migration and images of other upheavals in Serbian history. Historian Katarina Todić observes that there are striking similarities between the painting and photographs of the Royal Serbian Army's retreat to the Adriatic coast during World War I. Judah remarks that the composition resembles images of the exodus of Krajina Serbs following Croatia's Operation Storm in August 1995.The journalist John Kifner describes Migration of the Serbs as a "Balkan equivalent to Washington Crossing the Delaware ... an instantly recognizable [icon] of the 500-year struggle against the Ottoman Turks." Professor David A. Norris, a historian specializing in Serbian culture, calls Jovanović's approach "highly effective", and writes how the stoic attitude of the priests, warriors and peasants reminds the viewer of the historical significance of the migration. He asserts that Migration of the Serbs and similar paintings stimulated a "revived collective memory" among the new Serbian middle class, "transforming ... folk memory into a more modern vehicle for the invention of a new national ideology based on the Serbian struggle for freedom from foreign domination." Art historian Michele Facos describes the painting as a celebration of the Serbs' "valiant effort to defend Christian Europe against ... the Ottoman Turks." The historian Noel Malcolm doubts the historical veracity of depictions of Arsenije leading vast columns of refugees, saying that there is no concrete evidence to confirm or deny that the number of migrants exceeded 40,000, as Church leaders claimed.Filipovitch-Robinson ranks the painting among Jovanović's three best works, alongside The Takovo Uprising (1894) and The Proclamation of Dušan's Law Codex (1900). This view is shared by the art historian Jelena Milojković-Djurić, as well as Judah. Filipovitch-Robinson praises Jovanović's "uncompromising realism" and commends his portrayal of the migrants. She writes that the Pančevo version "validates Jovanović as an insightful commentator on ... Balkan history", and is indicative of "the methodology and technical skill which had already brought him international acclaim." Jovanović "persuades the viewer of the believability and authenticity of the event," she writes. "He captures the determination, strength, and dignity of a people. [...] Regardless of the reasons for this migration, they move forward in unison to meet the hard challenges of an unknown land."

Question: What is the name of the painting that has attained iconic status in Serbian popular culture?
Answer: Migration of the Serbs
The painting was well-received in Serbia and abroad; it has since attained iconic status in Serbian popular culture. An allusion to it is made in Emir Kusturica's 1995 film Underground, in which war refugees are depicted marching towards Belgrade in similar fashion, following the German bombing of the city in April 1941. Several authors have noted similarities between Jovanović's depiction of the migration and images of other upheavals in Serbian history. Historian Katarina Todić observes that there are striking similarities between the painting and photographs of the Royal Serbian Army's retreat to the Adriatic coast during World War I. Judah remarks that the composition resembles images of the exodus of Krajina Serbs following Croatia's Operation Storm in August 1995.The journalist John Kifner describes Migration of the Serbs as a "Balkan equivalent to Washington Crossing the Delaware ... an instantly recognizable [icon] of the 500-year struggle against the Ottoman Turks." Professor David A. Norris, a historian specializing in Serbian culture, calls Jovanović's approach "highly effective", and writes how the stoic attitude of the priests, warriors and peasants reminds the viewer of the historical significance of the migration. He asserts that Migration of the Serbs and similar paintings stimulated a "revived collective memory" among the new Serbian middle class, "transforming ... folk memory into a more modern vehicle for the invention of a new national ideology based on the Serbian struggle for freedom from foreign domination." Art historian Michele Facos describes the painting as a celebration of the Serbs' "valiant effort to defend Christian Europe against ... the Ottoman Turks." The historian Noel Malcolm doubts the historical veracity of depictions of Arsenije leading vast columns of refugees, saying that there is no concrete evidence to confirm or deny that the number of migrants exceeded 40,000, as Church leaders claimed.Filipovitch-Robinson ranks the painting among Jovanović's three best works, alongside The Takovo Uprising (1894) and The Proclamation of Dušan's Law Codex (1900). This view is shared by the art historian Jelena Milojković-Djurić, as well as Judah. Filipovitch-Robinson praises Jovanović's "uncompromising realism" and commends his portrayal of the migrants. She writes that the Pančevo version "validates Jovanović as an insightful commentator on ... Balkan history", and is indicative of "the methodology and technical skill which had already brought him international acclaim." Jovanović "persuades the viewer of the believability and authenticity of the event," she writes. "He captures the determination, strength, and dignity of a people. [...] Regardless of the reasons for this migration, they move forward in unison to meet the hard challenges of an unknown land."

Question: What is the name of the painting that was well-received in Serbia?
Answer: Migration of the Serbs
The painting was well-received in Serbia and abroad; it has since attained iconic status in Serbian popular culture. An allusion to it is made in Emir Kusturica's 1995 film Underground, in which war refugees are depicted marching towards Belgrade in similar fashion, following the German bombing of the city in April 1941. Several authors have noted similarities between Jovanović's depiction of the migration and images of other upheavals in Serbian history. Historian Katarina Todić observes that there are striking similarities between the painting and photographs of the Royal Serbian Army's retreat to the Adriatic coast during World War I. Judah remarks that the composition resembles images of the exodus of Krajina Serbs following Croatia's Operation Storm in August 1995.The journalist John Kifner describes Migration of the Serbs as a "Balkan equivalent to Washington Crossing the Delaware ... an instantly recognizable [icon] of the 500-year struggle against the Ottoman Turks." Professor David A. Norris, a historian specializing in Serbian culture, calls Jovanović's approach "highly effective", and writes how the stoic attitude of the priests, warriors and peasants reminds the viewer of the historical significance of the migration. He asserts that Migration of the Serbs and similar paintings stimulated a "revived collective memory" among the new Serbian middle class, "transforming ... folk memory into a more modern vehicle for the invention of a new national ideology based on the Serbian struggle for freedom from foreign domination." Art historian Michele Facos describes the painting as a celebration of the Serbs' "valiant effort to defend Christian Europe against ... the Ottoman Turks." The historian Noel Malcolm doubts the historical veracity of depictions of Arsenije leading vast columns of refugees, saying that there is no concrete evidence to confirm or deny that the number of migrants exceeded 40,000, as Church leaders claimed.Filipovitch-Robinson ranks the painting among Jovanović's three best works, alongside The Takovo Uprising (1894) and The Proclamation of Dušan's Law Codex (1900). This view is shared by the art historian Jelena Milojković-Djurić, as well as Judah. Filipovitch-Robinson praises Jovanović's "uncompromising realism" and commends his portrayal of the migrants. She writes that the Pančevo version "validates Jovanović as an insightful commentator on ... Balkan history", and is indicative of "the methodology and technical skill which had already brought him international acclaim." Jovanović "persuades the viewer of the believability and authenticity of the event," she writes. "He captures the determination, strength, and dignity of a people. [...] Regardless of the reasons for this migration, they move forward in unison to meet the hard challenges of an unknown land."

Question: What is the name of the painting that is strikingly similar to photographs of the Royal Serbian Army's retreat?
Answer: Migration of the Serbs
The story begins in the 1960s with three inmates in a New York prison — Earl, Rocco, and Carlito — controlling their criminal empire within their cell. Upon their release, they all look to control the drug trade in Harlem, which is currently in a power dispute between the Italian Bottolota crime family and black gangsters led by Hollywood Nicky. Rocco takes them to Artie Bottolota who at first is reluctant to work with blacks and Puerto Ricans, but who eventually cuts a deal with them in heroin distribution. The friends also meet Artie's son, Artie Jr. Soon, Earl's troubled younger brother Reggie joins them. It does not take long for Reggie to cause trouble; eventually endangering both himself and Carlito's deal with the Bottolotas.
Artie Jr. attempts to kill Reggie with a straight razor, while Carlito is restrained. Rocco pulls up and tells Artie Jr. to let him go, reasoning they will "take care of him." Carlito also meets a young lady named Leticia and meets her brother Sigfredo. Sigfredo knows who and what Carlito really is, which leads to confrontation. Carlito eventually proves himself to Leticia's family, but Sigfredo leaves.
Reggie, after being kicked off the crew by Carlito, attacks and kidnaps Artie Jr. outside of his house, with the help of two other thugs. After Reggie gets the ransom, Artie Jr. is released by police and returns to his family.
The Bottolotta Family blames Carlito, Rocco, and Earl for assisting Reggie in the kidnapping. Artie Sr. puts out a contract on the trio.  The hitman contracted to kill them, Nacho Reyes, and Carlito's accomplice, Colorado help them find the hoodlums with Reggie. Reggie's location is learned.

Question: What is the name of the person that Rocco tells Artie Jr. to let go?
Answer: Reggie
Percy Aldridge Grainger (born George Percy Grainger; 8 July 1882 – 20 February 1961) was an Australian-born composer, arranger and pianist who lived in the United States from 1914 on and became a citizen in 1918. In the course of a long and innovative career, he played a prominent role in the revival of interest in British folk music in the early years of the 20th century.  Although much of his work was experimental and unusual, the piece with which he is most generally associated is his piano arrangement of the folk-dance tune "Country Gardens".
Grainger left Australia at the age of 13 to attend the Hoch Conservatory in Frankfurt. Between 1901 and 1914 he was based in London, where he established himself first as a society pianist and later as a concert performer, composer and collector of original folk melodies. As his reputation grew he met many of the significant figures in European music, forming important friendships with Frederick Delius and Edvard Grieg. He became a champion of Nordic music and culture, his enthusiasm for which he often expressed in private letters, sometimes in crudely racial or anti-Semitic terms.
In 1914, Grainger moved to the United States, where he lived for the rest of his life, though he travelled widely in Europe and in Australia. He served briefly as a bandsman in the United States Army during the First World War through 1917–18, and took American citizenship in 1918. After his mother's suicide in 1922, he became increasingly involved in educational work. He also experimented with music machines, which he hoped would supersede human interpretation. In the 1930s he set up the Grainger Museum in Melbourne, his birthplace, as a monument to his life and works, and as a future research archive. As he grew older, he continued to give concerts and to revise and rearrange his own compositions, while writing little new music. After the Second World War, ill health reduced his levels of activity. He considered his career a failure. He gave his last concert in 1960, less than a year before his death.

Question: What is the last name of the person who played a prominent role in the revival of interest in British folk music in the early years of the 20th century?
Answer: Grainger
Percy Aldridge Grainger (born George Percy Grainger; 8 July 1882 – 20 February 1961) was an Australian-born composer, arranger and pianist who lived in the United States from 1914 on and became a citizen in 1918. In the course of a long and innovative career, he played a prominent role in the revival of interest in British folk music in the early years of the 20th century.  Although much of his work was experimental and unusual, the piece with which he is most generally associated is his piano arrangement of the folk-dance tune "Country Gardens".
Grainger left Australia at the age of 13 to attend the Hoch Conservatory in Frankfurt. Between 1901 and 1914 he was based in London, where he established himself first as a society pianist and later as a concert performer, composer and collector of original folk melodies. As his reputation grew he met many of the significant figures in European music, forming important friendships with Frederick Delius and Edvard Grieg. He became a champion of Nordic music and culture, his enthusiasm for which he often expressed in private letters, sometimes in crudely racial or anti-Semitic terms.
In 1914, Grainger moved to the United States, where he lived for the rest of his life, though he travelled widely in Europe and in Australia. He served briefly as a bandsman in the United States Army during the First World War through 1917–18, and took American citizenship in 1918. After his mother's suicide in 1922, he became increasingly involved in educational work. He also experimented with music machines, which he hoped would supersede human interpretation. In the 1930s he set up the Grainger Museum in Melbourne, his birthplace, as a monument to his life and works, and as a future research archive. As he grew older, he continued to give concerts and to revise and rearrange his own compositions, while writing little new music. After the Second World War, ill health reduced his levels of activity. He considered his career a failure. He gave his last concert in 1960, less than a year before his death.

Question: What is the last name of the person whose work was mainly experimental and unusual?
Answer: Grainger
Percy Aldridge Grainger (born George Percy Grainger; 8 July 1882 – 20 February 1961) was an Australian-born composer, arranger and pianist who lived in the United States from 1914 on and became a citizen in 1918. In the course of a long and innovative career, he played a prominent role in the revival of interest in British folk music in the early years of the 20th century.  Although much of his work was experimental and unusual, the piece with which he is most generally associated is his piano arrangement of the folk-dance tune "Country Gardens".
Grainger left Australia at the age of 13 to attend the Hoch Conservatory in Frankfurt. Between 1901 and 1914 he was based in London, where he established himself first as a society pianist and later as a concert performer, composer and collector of original folk melodies. As his reputation grew he met many of the significant figures in European music, forming important friendships with Frederick Delius and Edvard Grieg. He became a champion of Nordic music and culture, his enthusiasm for which he often expressed in private letters, sometimes in crudely racial or anti-Semitic terms.
In 1914, Grainger moved to the United States, where he lived for the rest of his life, though he travelled widely in Europe and in Australia. He served briefly as a bandsman in the United States Army during the First World War through 1917–18, and took American citizenship in 1918. After his mother's suicide in 1922, he became increasingly involved in educational work. He also experimented with music machines, which he hoped would supersede human interpretation. In the 1930s he set up the Grainger Museum in Melbourne, his birthplace, as a monument to his life and works, and as a future research archive. As he grew older, he continued to give concerts and to revise and rearrange his own compositions, while writing little new music. After the Second World War, ill health reduced his levels of activity. He considered his career a failure. He gave his last concert in 1960, less than a year before his death.

Question: What is the last name of the person who is most generally associated with his piano arrangement of the folk dance tune "Country Gardens"?
Answer: Grainger
Percy Aldridge Grainger (born George Percy Grainger; 8 July 1882 – 20 February 1961) was an Australian-born composer, arranger and pianist who lived in the United States from 1914 on and became a citizen in 1918. In the course of a long and innovative career, he played a prominent role in the revival of interest in British folk music in the early years of the 20th century.  Although much of his work was experimental and unusual, the piece with which he is most generally associated is his piano arrangement of the folk-dance tune "Country Gardens".
Grainger left Australia at the age of 13 to attend the Hoch Conservatory in Frankfurt. Between 1901 and 1914 he was based in London, where he established himself first as a society pianist and later as a concert performer, composer and collector of original folk melodies. As his reputation grew he met many of the significant figures in European music, forming important friendships with Frederick Delius and Edvard Grieg. He became a champion of Nordic music and culture, his enthusiasm for which he often expressed in private letters, sometimes in crudely racial or anti-Semitic terms.
In 1914, Grainger moved to the United States, where he lived for the rest of his life, though he travelled widely in Europe and in Australia. He served briefly as a bandsman in the United States Army during the First World War through 1917–18, and took American citizenship in 1918. After his mother's suicide in 1922, he became increasingly involved in educational work. He also experimented with music machines, which he hoped would supersede human interpretation. In the 1930s he set up the Grainger Museum in Melbourne, his birthplace, as a monument to his life and works, and as a future research archive. As he grew older, he continued to give concerts and to revise and rearrange his own compositions, while writing little new music. After the Second World War, ill health reduced his levels of activity. He considered his career a failure. He gave his last concert in 1960, less than a year before his death.

Question: What is the last name of the person who was based in London between 1901 and 1914?
Answer: Grainger
Percy Aldridge Grainger (born George Percy Grainger; 8 July 1882 – 20 February 1961) was an Australian-born composer, arranger and pianist who lived in the United States from 1914 on and became a citizen in 1918. In the course of a long and innovative career, he played a prominent role in the revival of interest in British folk music in the early years of the 20th century.  Although much of his work was experimental and unusual, the piece with which he is most generally associated is his piano arrangement of the folk-dance tune "Country Gardens".
Grainger left Australia at the age of 13 to attend the Hoch Conservatory in Frankfurt. Between 1901 and 1914 he was based in London, where he established himself first as a society pianist and later as a concert performer, composer and collector of original folk melodies. As his reputation grew he met many of the significant figures in European music, forming important friendships with Frederick Delius and Edvard Grieg. He became a champion of Nordic music and culture, his enthusiasm for which he often expressed in private letters, sometimes in crudely racial or anti-Semitic terms.
In 1914, Grainger moved to the United States, where he lived for the rest of his life, though he travelled widely in Europe and in Australia. He served briefly as a bandsman in the United States Army during the First World War through 1917–18, and took American citizenship in 1918. After his mother's suicide in 1922, he became increasingly involved in educational work. He also experimented with music machines, which he hoped would supersede human interpretation. In the 1930s he set up the Grainger Museum in Melbourne, his birthplace, as a monument to his life and works, and as a future research archive. As he grew older, he continued to give concerts and to revise and rearrange his own compositions, while writing little new music. After the Second World War, ill health reduced his levels of activity. He considered his career a failure. He gave his last concert in 1960, less than a year before his death.

Question: What is the last name of the person who established himself first as a society pianist?
Answer: Grainger
Percy Aldridge Grainger (born George Percy Grainger; 8 July 1882 – 20 February 1961) was an Australian-born composer, arranger and pianist who lived in the United States from 1914 on and became a citizen in 1918. In the course of a long and innovative career, he played a prominent role in the revival of interest in British folk music in the early years of the 20th century.  Although much of his work was experimental and unusual, the piece with which he is most generally associated is his piano arrangement of the folk-dance tune "Country Gardens".
Grainger left Australia at the age of 13 to attend the Hoch Conservatory in Frankfurt. Between 1901 and 1914 he was based in London, where he established himself first as a society pianist and later as a concert performer, composer and collector of original folk melodies. As his reputation grew he met many of the significant figures in European music, forming important friendships with Frederick Delius and Edvard Grieg. He became a champion of Nordic music and culture, his enthusiasm for which he often expressed in private letters, sometimes in crudely racial or anti-Semitic terms.
In 1914, Grainger moved to the United States, where he lived for the rest of his life, though he travelled widely in Europe and in Australia. He served briefly as a bandsman in the United States Army during the First World War through 1917–18, and took American citizenship in 1918. After his mother's suicide in 1922, he became increasingly involved in educational work. He also experimented with music machines, which he hoped would supersede human interpretation. In the 1930s he set up the Grainger Museum in Melbourne, his birthplace, as a monument to his life and works, and as a future research archive. As he grew older, he continued to give concerts and to revise and rearrange his own compositions, while writing little new music. After the Second World War, ill health reduced his levels of activity. He considered his career a failure. He gave his last concert in 1960, less than a year before his death.

Question: What is the last name of the person who was later established as a concert performer, composer and collector of original folk melodies?
Answer: Grainger
Percy Aldridge Grainger (born George Percy Grainger; 8 July 1882 – 20 February 1961) was an Australian-born composer, arranger and pianist who lived in the United States from 1914 on and became a citizen in 1918. In the course of a long and innovative career, he played a prominent role in the revival of interest in British folk music in the early years of the 20th century.  Although much of his work was experimental and unusual, the piece with which he is most generally associated is his piano arrangement of the folk-dance tune "Country Gardens".
Grainger left Australia at the age of 13 to attend the Hoch Conservatory in Frankfurt. Between 1901 and 1914 he was based in London, where he established himself first as a society pianist and later as a concert performer, composer and collector of original folk melodies. As his reputation grew he met many of the significant figures in European music, forming important friendships with Frederick Delius and Edvard Grieg. He became a champion of Nordic music and culture, his enthusiasm for which he often expressed in private letters, sometimes in crudely racial or anti-Semitic terms.
In 1914, Grainger moved to the United States, where he lived for the rest of his life, though he travelled widely in Europe and in Australia. He served briefly as a bandsman in the United States Army during the First World War through 1917–18, and took American citizenship in 1918. After his mother's suicide in 1922, he became increasingly involved in educational work. He also experimented with music machines, which he hoped would supersede human interpretation. In the 1930s he set up the Grainger Museum in Melbourne, his birthplace, as a monument to his life and works, and as a future research archive. As he grew older, he continued to give concerts and to revise and rearrange his own compositions, while writing little new music. After the Second World War, ill health reduced his levels of activity. He considered his career a failure. He gave his last concert in 1960, less than a year before his death.

Question: What is the last name of the person who met many of the significant figures in European music?
Answer: Grainger
Percy Aldridge Grainger (born George Percy Grainger; 8 July 1882 – 20 February 1961) was an Australian-born composer, arranger and pianist who lived in the United States from 1914 on and became a citizen in 1918. In the course of a long and innovative career, he played a prominent role in the revival of interest in British folk music in the early years of the 20th century.  Although much of his work was experimental and unusual, the piece with which he is most generally associated is his piano arrangement of the folk-dance tune "Country Gardens".
Grainger left Australia at the age of 13 to attend the Hoch Conservatory in Frankfurt. Between 1901 and 1914 he was based in London, where he established himself first as a society pianist and later as a concert performer, composer and collector of original folk melodies. As his reputation grew he met many of the significant figures in European music, forming important friendships with Frederick Delius and Edvard Grieg. He became a champion of Nordic music and culture, his enthusiasm for which he often expressed in private letters, sometimes in crudely racial or anti-Semitic terms.
In 1914, Grainger moved to the United States, where he lived for the rest of his life, though he travelled widely in Europe and in Australia. He served briefly as a bandsman in the United States Army during the First World War through 1917–18, and took American citizenship in 1918. After his mother's suicide in 1922, he became increasingly involved in educational work. He also experimented with music machines, which he hoped would supersede human interpretation. In the 1930s he set up the Grainger Museum in Melbourne, his birthplace, as a monument to his life and works, and as a future research archive. As he grew older, he continued to give concerts and to revise and rearrange his own compositions, while writing little new music. After the Second World War, ill health reduced his levels of activity. He considered his career a failure. He gave his last concert in 1960, less than a year before his death.

Question: What is the last name of the person who formed important friendships with Frederick Delius and Edvard Grieg?
Answer: Grainger
Percy Aldridge Grainger (born George Percy Grainger; 8 July 1882 – 20 February 1961) was an Australian-born composer, arranger and pianist who lived in the United States from 1914 on and became a citizen in 1918. In the course of a long and innovative career, he played a prominent role in the revival of interest in British folk music in the early years of the 20th century.  Although much of his work was experimental and unusual, the piece with which he is most generally associated is his piano arrangement of the folk-dance tune "Country Gardens".
Grainger left Australia at the age of 13 to attend the Hoch Conservatory in Frankfurt. Between 1901 and 1914 he was based in London, where he established himself first as a society pianist and later as a concert performer, composer and collector of original folk melodies. As his reputation grew he met many of the significant figures in European music, forming important friendships with Frederick Delius and Edvard Grieg. He became a champion of Nordic music and culture, his enthusiasm for which he often expressed in private letters, sometimes in crudely racial or anti-Semitic terms.
In 1914, Grainger moved to the United States, where he lived for the rest of his life, though he travelled widely in Europe and in Australia. He served briefly as a bandsman in the United States Army during the First World War through 1917–18, and took American citizenship in 1918. After his mother's suicide in 1922, he became increasingly involved in educational work. He also experimented with music machines, which he hoped would supersede human interpretation. In the 1930s he set up the Grainger Museum in Melbourne, his birthplace, as a monument to his life and works, and as a future research archive. As he grew older, he continued to give concerts and to revise and rearrange his own compositions, while writing little new music. After the Second World War, ill health reduced his levels of activity. He considered his career a failure. He gave his last concert in 1960, less than a year before his death.

Question: What is the last name of the person who became a champion of Nordic music and culture?
Answer: Grainger
Percy Aldridge Grainger (born George Percy Grainger; 8 July 1882 – 20 February 1961) was an Australian-born composer, arranger and pianist who lived in the United States from 1914 on and became a citizen in 1918. In the course of a long and innovative career, he played a prominent role in the revival of interest in British folk music in the early years of the 20th century.  Although much of his work was experimental and unusual, the piece with which he is most generally associated is his piano arrangement of the folk-dance tune "Country Gardens".
Grainger left Australia at the age of 13 to attend the Hoch Conservatory in Frankfurt. Between 1901 and 1914 he was based in London, where he established himself first as a society pianist and later as a concert performer, composer and collector of original folk melodies. As his reputation grew he met many of the significant figures in European music, forming important friendships with Frederick Delius and Edvard Grieg. He became a champion of Nordic music and culture, his enthusiasm for which he often expressed in private letters, sometimes in crudely racial or anti-Semitic terms.
In 1914, Grainger moved to the United States, where he lived for the rest of his life, though he travelled widely in Europe and in Australia. He served briefly as a bandsman in the United States Army during the First World War through 1917–18, and took American citizenship in 1918. After his mother's suicide in 1922, he became increasingly involved in educational work. He also experimented with music machines, which he hoped would supersede human interpretation. In the 1930s he set up the Grainger Museum in Melbourne, his birthplace, as a monument to his life and works, and as a future research archive. As he grew older, he continued to give concerts and to revise and rearrange his own compositions, while writing little new music. After the Second World War, ill health reduced his levels of activity. He considered his career a failure. He gave his last concert in 1960, less than a year before his death.

Question: What is the last name of the person who expressed his enthusiasm for Nordic music and culture in private letters?
Answer: Grainger
Except for three months' formal schooling as a 12-year-old, during which he was bullied and ridiculed by his classmates, Percy was educated at home.  Rose, an autodidact with a dominating presence, supervised his music and literature studies and engaged other tutors for languages, art and drama. From his earliest lessons, Percy developed a lifelong fascination with Nordic culture; writing late in life, he said that the Icelandic Saga of Grettir the Strong was "the strongest single artistic influence on my life". As well as showing precocious musical talents, he displayed considerable early gifts as an artist, to the extent that his tutors thought his future might lie in art rather than music. At the age of 10 he began studying piano under Louis Pabst, a German immigrant then considered to be Melbourne's leading piano teacher. Grainger's first known composition, "A Birthday Gift to Mother", is dated 1893. Pabst arranged Grainger's first public concert appearances, at Melbourne's Masonic Hall in July and September 1894. The boy played works by Bach, Beethoven, Schumann and Scarlatti, and was warmly complimented in the Melbourne press.After Pabst returned to Europe in the autumn of 1894, Grainger's new piano tutor, Adelaide Burkitt, arranged for his appearances at a series of concerts in October 1894, at Melbourne's Royal Exhibition Building. The size of this enormous venue horrified the young pianist; nevertheless, his performance delighted the Melbourne critics, who dubbed him "the flaxen-haired phenomenon who plays like a master". This public acclaim helped Rose to decide that her son should continue his studies at  the Hoch Conservatory in Frankfurt, Germany, an institution recommended by William Laver, head of piano studies at Melbourne's Conservatorium of music. Financial assistance was secured through a fund-raising benefit concert in Melbourne and a final recital in Adelaide, after which mother and son left Australia for Europe on 29 May 1895. Although Grainger never returned permanently to Australia, he maintained considerable patriotic feelings for his native land, and was proud of his Australian heritage.

Question: What is the first name of the person that was taught music from Rose?
Answer: Percy
Except for three months' formal schooling as a 12-year-old, during which he was bullied and ridiculed by his classmates, Percy was educated at home.  Rose, an autodidact with a dominating presence, supervised his music and literature studies and engaged other tutors for languages, art and drama. From his earliest lessons, Percy developed a lifelong fascination with Nordic culture; writing late in life, he said that the Icelandic Saga of Grettir the Strong was "the strongest single artistic influence on my life". As well as showing precocious musical talents, he displayed considerable early gifts as an artist, to the extent that his tutors thought his future might lie in art rather than music. At the age of 10 he began studying piano under Louis Pabst, a German immigrant then considered to be Melbourne's leading piano teacher. Grainger's first known composition, "A Birthday Gift to Mother", is dated 1893. Pabst arranged Grainger's first public concert appearances, at Melbourne's Masonic Hall in July and September 1894. The boy played works by Bach, Beethoven, Schumann and Scarlatti, and was warmly complimented in the Melbourne press.After Pabst returned to Europe in the autumn of 1894, Grainger's new piano tutor, Adelaide Burkitt, arranged for his appearances at a series of concerts in October 1894, at Melbourne's Royal Exhibition Building. The size of this enormous venue horrified the young pianist; nevertheless, his performance delighted the Melbourne critics, who dubbed him "the flaxen-haired phenomenon who plays like a master". This public acclaim helped Rose to decide that her son should continue his studies at  the Hoch Conservatory in Frankfurt, Germany, an institution recommended by William Laver, head of piano studies at Melbourne's Conservatorium of music. Financial assistance was secured through a fund-raising benefit concert in Melbourne and a final recital in Adelaide, after which mother and son left Australia for Europe on 29 May 1895. Although Grainger never returned permanently to Australia, he maintained considerable patriotic feelings for his native land, and was proud of his Australian heritage.

Question: What is the first name of the person that showed precocious musical talents?
Answer: Percy
Except for three months' formal schooling as a 12-year-old, during which he was bullied and ridiculed by his classmates, Percy was educated at home.  Rose, an autodidact with a dominating presence, supervised his music and literature studies and engaged other tutors for languages, art and drama. From his earliest lessons, Percy developed a lifelong fascination with Nordic culture; writing late in life, he said that the Icelandic Saga of Grettir the Strong was "the strongest single artistic influence on my life". As well as showing precocious musical talents, he displayed considerable early gifts as an artist, to the extent that his tutors thought his future might lie in art rather than music. At the age of 10 he began studying piano under Louis Pabst, a German immigrant then considered to be Melbourne's leading piano teacher. Grainger's first known composition, "A Birthday Gift to Mother", is dated 1893. Pabst arranged Grainger's first public concert appearances, at Melbourne's Masonic Hall in July and September 1894. The boy played works by Bach, Beethoven, Schumann and Scarlatti, and was warmly complimented in the Melbourne press.After Pabst returned to Europe in the autumn of 1894, Grainger's new piano tutor, Adelaide Burkitt, arranged for his appearances at a series of concerts in October 1894, at Melbourne's Royal Exhibition Building. The size of this enormous venue horrified the young pianist; nevertheless, his performance delighted the Melbourne critics, who dubbed him "the flaxen-haired phenomenon who plays like a master". This public acclaim helped Rose to decide that her son should continue his studies at  the Hoch Conservatory in Frankfurt, Germany, an institution recommended by William Laver, head of piano studies at Melbourne's Conservatorium of music. Financial assistance was secured through a fund-raising benefit concert in Melbourne and a final recital in Adelaide, after which mother and son left Australia for Europe on 29 May 1895. Although Grainger never returned permanently to Australia, he maintained considerable patriotic feelings for his native land, and was proud of his Australian heritage.

Question: What is the first name of the person that displayed considerable early gifts as an artist?
Answer: Percy
Except for three months' formal schooling as a 12-year-old, during which he was bullied and ridiculed by his classmates, Percy was educated at home.  Rose, an autodidact with a dominating presence, supervised his music and literature studies and engaged other tutors for languages, art and drama. From his earliest lessons, Percy developed a lifelong fascination with Nordic culture; writing late in life, he said that the Icelandic Saga of Grettir the Strong was "the strongest single artistic influence on my life". As well as showing precocious musical talents, he displayed considerable early gifts as an artist, to the extent that his tutors thought his future might lie in art rather than music. At the age of 10 he began studying piano under Louis Pabst, a German immigrant then considered to be Melbourne's leading piano teacher. Grainger's first known composition, "A Birthday Gift to Mother", is dated 1893. Pabst arranged Grainger's first public concert appearances, at Melbourne's Masonic Hall in July and September 1894. The boy played works by Bach, Beethoven, Schumann and Scarlatti, and was warmly complimented in the Melbourne press.After Pabst returned to Europe in the autumn of 1894, Grainger's new piano tutor, Adelaide Burkitt, arranged for his appearances at a series of concerts in October 1894, at Melbourne's Royal Exhibition Building. The size of this enormous venue horrified the young pianist; nevertheless, his performance delighted the Melbourne critics, who dubbed him "the flaxen-haired phenomenon who plays like a master". This public acclaim helped Rose to decide that her son should continue his studies at  the Hoch Conservatory in Frankfurt, Germany, an institution recommended by William Laver, head of piano studies at Melbourne's Conservatorium of music. Financial assistance was secured through a fund-raising benefit concert in Melbourne and a final recital in Adelaide, after which mother and son left Australia for Europe on 29 May 1895. Although Grainger never returned permanently to Australia, he maintained considerable patriotic feelings for his native land, and was proud of his Australian heritage.

Question: What is the first name of the person that began studying piano under Louis Pabst at age 10?
Answer: Percy