nc33/multispan_quoref huggingface dataset:
Marcel Marnat's catalogue of Ravel's complete works lists eighty-five works, including many incomplete or abandoned. Though that total is small in comparison with the output of his major contemporaries, it is nevertheless inflated by Ravel's frequent practice of writing works for piano and later rewriting them as independent pieces for orchestra. The performable body of works numbers about sixty; slightly more than half are instrumental. Ravel's music includes pieces for piano, chamber music, two piano concerti, ballet music, opera, and song cycles. He wrote no symphonies or church works.Ravel drew on many generations of French composers from Couperin and Rameau to Fauré and the more recent innovations of Satie and Debussy. Foreign influences include Mozart, Schubert, Liszt and Chopin. He considered himself in many ways a classicist, often using traditional structures and forms, such as the ternary, to present his new melodic and rhythmic content and innovative harmonies. The influence of jazz on his later music is heard within conventional classical structures in the Piano Concerto and the Violin Sonata.
Ravel placed high importance on melody, telling Vaughan Williams that there is "an implied melodic outline in all vital music". His themes are frequently modal instead of using the familiar major or minor scales. As a result, there are few leading notes in his output. Chords of the ninth and eleventh and unresolved appoggiaturas, such as those in the Valses nobles et sentimentales, are characteristic of Ravel's harmonic language.Dance forms appealed to Ravel, most famously the bolero and pavane, but also the minuet, forlane, rigaudon, waltz, czardas, habanera and passacaglia. National and regional consciousness was important to him, and although a planned concerto on Basque themes never materialised, his works include allusions to Hebraic, Greek, Hungarian and gypsy themes. He wrote several short pieces paying tribute to composers he admired – Borodin, Chabrier, Fauré and Haydn, interpreting their characteristics in a Ravellian style. Another important influence was literary rather than musical: Ravel said that he learnt from Poe that "true art is a perfect balance between pure intellect and emotion", with the corollary that a piece of music should be a perfectly balanced entity with no irrelevant material allowed to intrude.

Question: What is the last name of the man that taught the person that drew on many generations of French composers "true art is a perfect balance between pure intellect and emotion"?
Answer: Poe
Marcel Marnat's catalogue of Ravel's complete works lists eighty-five works, including many incomplete or abandoned. Though that total is small in comparison with the output of his major contemporaries, it is nevertheless inflated by Ravel's frequent practice of writing works for piano and later rewriting them as independent pieces for orchestra. The performable body of works numbers about sixty; slightly more than half are instrumental. Ravel's music includes pieces for piano, chamber music, two piano concerti, ballet music, opera, and song cycles. He wrote no symphonies or church works.Ravel drew on many generations of French composers from Couperin and Rameau to Fauré and the more recent innovations of Satie and Debussy. Foreign influences include Mozart, Schubert, Liszt and Chopin. He considered himself in many ways a classicist, often using traditional structures and forms, such as the ternary, to present his new melodic and rhythmic content and innovative harmonies. The influence of jazz on his later music is heard within conventional classical structures in the Piano Concerto and the Violin Sonata.
Ravel placed high importance on melody, telling Vaughan Williams that there is "an implied melodic outline in all vital music". His themes are frequently modal instead of using the familiar major or minor scales. As a result, there are few leading notes in his output. Chords of the ninth and eleventh and unresolved appoggiaturas, such as those in the Valses nobles et sentimentales, are characteristic of Ravel's harmonic language.Dance forms appealed to Ravel, most famously the bolero and pavane, but also the minuet, forlane, rigaudon, waltz, czardas, habanera and passacaglia. National and regional consciousness was important to him, and although a planned concerto on Basque themes never materialised, his works include allusions to Hebraic, Greek, Hungarian and gypsy themes. He wrote several short pieces paying tribute to composers he admired – Borodin, Chabrier, Fauré and Haydn, interpreting their characteristics in a Ravellian style. Another important influence was literary rather than musical: Ravel said that he learnt from Poe that "true art is a perfect balance between pure intellect and emotion", with the corollary that a piece of music should be a perfectly balanced entity with no irrelevant material allowed to intrude.

Question: What is the name of the person whose foreign influences included Mozart, Schubert, Liszt and Chopin?
Answer: Ravel
Marcel Marnat's catalogue of Ravel's complete works lists eighty-five works, including many incomplete or abandoned. Though that total is small in comparison with the output of his major contemporaries, it is nevertheless inflated by Ravel's frequent practice of writing works for piano and later rewriting them as independent pieces for orchestra. The performable body of works numbers about sixty; slightly more than half are instrumental. Ravel's music includes pieces for piano, chamber music, two piano concerti, ballet music, opera, and song cycles. He wrote no symphonies or church works.Ravel drew on many generations of French composers from Couperin and Rameau to Fauré and the more recent innovations of Satie and Debussy. Foreign influences include Mozart, Schubert, Liszt and Chopin. He considered himself in many ways a classicist, often using traditional structures and forms, such as the ternary, to present his new melodic and rhythmic content and innovative harmonies. The influence of jazz on his later music is heard within conventional classical structures in the Piano Concerto and the Violin Sonata.
Ravel placed high importance on melody, telling Vaughan Williams that there is "an implied melodic outline in all vital music". His themes are frequently modal instead of using the familiar major or minor scales. As a result, there are few leading notes in his output. Chords of the ninth and eleventh and unresolved appoggiaturas, such as those in the Valses nobles et sentimentales, are characteristic of Ravel's harmonic language.Dance forms appealed to Ravel, most famously the bolero and pavane, but also the minuet, forlane, rigaudon, waltz, czardas, habanera and passacaglia. National and regional consciousness was important to him, and although a planned concerto on Basque themes never materialised, his works include allusions to Hebraic, Greek, Hungarian and gypsy themes. He wrote several short pieces paying tribute to composers he admired – Borodin, Chabrier, Fauré and Haydn, interpreting their characteristics in a Ravellian style. Another important influence was literary rather than musical: Ravel said that he learnt from Poe that "true art is a perfect balance between pure intellect and emotion", with the corollary that a piece of music should be a perfectly balanced entity with no irrelevant material allowed to intrude.

Question: What is the name of the person who considered himself in many ways a classicist, often using traditional structures and forms, such as the ternary?
Answer: Ravel
Marcel Marnat's catalogue of Ravel's complete works lists eighty-five works, including many incomplete or abandoned. Though that total is small in comparison with the output of his major contemporaries, it is nevertheless inflated by Ravel's frequent practice of writing works for piano and later rewriting them as independent pieces for orchestra. The performable body of works numbers about sixty; slightly more than half are instrumental. Ravel's music includes pieces for piano, chamber music, two piano concerti, ballet music, opera, and song cycles. He wrote no symphonies or church works.Ravel drew on many generations of French composers from Couperin and Rameau to Fauré and the more recent innovations of Satie and Debussy. Foreign influences include Mozart, Schubert, Liszt and Chopin. He considered himself in many ways a classicist, often using traditional structures and forms, such as the ternary, to present his new melodic and rhythmic content and innovative harmonies. The influence of jazz on his later music is heard within conventional classical structures in the Piano Concerto and the Violin Sonata.
Ravel placed high importance on melody, telling Vaughan Williams that there is "an implied melodic outline in all vital music". His themes are frequently modal instead of using the familiar major or minor scales. As a result, there are few leading notes in his output. Chords of the ninth and eleventh and unresolved appoggiaturas, such as those in the Valses nobles et sentimentales, are characteristic of Ravel's harmonic language.Dance forms appealed to Ravel, most famously the bolero and pavane, but also the minuet, forlane, rigaudon, waltz, czardas, habanera and passacaglia. National and regional consciousness was important to him, and although a planned concerto on Basque themes never materialised, his works include allusions to Hebraic, Greek, Hungarian and gypsy themes. He wrote several short pieces paying tribute to composers he admired – Borodin, Chabrier, Fauré and Haydn, interpreting their characteristics in a Ravellian style. Another important influence was literary rather than musical: Ravel said that he learnt from Poe that "true art is a perfect balance between pure intellect and emotion", with the corollary that a piece of music should be a perfectly balanced entity with no irrelevant material allowed to intrude.

Question: What is the name of the person on whose later music the influence of jazz is heard within structures in the Piano Concerto and the Violin Sonata?
Answer: Ravel
Marcel Marnat's catalogue of Ravel's complete works lists eighty-five works, including many incomplete or abandoned. Though that total is small in comparison with the output of his major contemporaries, it is nevertheless inflated by Ravel's frequent practice of writing works for piano and later rewriting them as independent pieces for orchestra. The performable body of works numbers about sixty; slightly more than half are instrumental. Ravel's music includes pieces for piano, chamber music, two piano concerti, ballet music, opera, and song cycles. He wrote no symphonies or church works.Ravel drew on many generations of French composers from Couperin and Rameau to Fauré and the more recent innovations of Satie and Debussy. Foreign influences include Mozart, Schubert, Liszt and Chopin. He considered himself in many ways a classicist, often using traditional structures and forms, such as the ternary, to present his new melodic and rhythmic content and innovative harmonies. The influence of jazz on his later music is heard within conventional classical structures in the Piano Concerto and the Violin Sonata.
Ravel placed high importance on melody, telling Vaughan Williams that there is "an implied melodic outline in all vital music". His themes are frequently modal instead of using the familiar major or minor scales. As a result, there are few leading notes in his output. Chords of the ninth and eleventh and unresolved appoggiaturas, such as those in the Valses nobles et sentimentales, are characteristic of Ravel's harmonic language.Dance forms appealed to Ravel, most famously the bolero and pavane, but also the minuet, forlane, rigaudon, waltz, czardas, habanera and passacaglia. National and regional consciousness was important to him, and although a planned concerto on Basque themes never materialised, his works include allusions to Hebraic, Greek, Hungarian and gypsy themes. He wrote several short pieces paying tribute to composers he admired – Borodin, Chabrier, Fauré and Haydn, interpreting their characteristics in a Ravellian style. Another important influence was literary rather than musical: Ravel said that he learnt from Poe that "true art is a perfect balance between pure intellect and emotion", with the corollary that a piece of music should be a perfectly balanced entity with no irrelevant material allowed to intrude.

Question: What is the name of the person whose themes are frequently modal instead of using the familiar major or minor scales?
Answer: Ravel
Marcel Marnat's catalogue of Ravel's complete works lists eighty-five works, including many incomplete or abandoned. Though that total is small in comparison with the output of his major contemporaries, it is nevertheless inflated by Ravel's frequent practice of writing works for piano and later rewriting them as independent pieces for orchestra. The performable body of works numbers about sixty; slightly more than half are instrumental. Ravel's music includes pieces for piano, chamber music, two piano concerti, ballet music, opera, and song cycles. He wrote no symphonies or church works.Ravel drew on many generations of French composers from Couperin and Rameau to Fauré and the more recent innovations of Satie and Debussy. Foreign influences include Mozart, Schubert, Liszt and Chopin. He considered himself in many ways a classicist, often using traditional structures and forms, such as the ternary, to present his new melodic and rhythmic content and innovative harmonies. The influence of jazz on his later music is heard within conventional classical structures in the Piano Concerto and the Violin Sonata.
Ravel placed high importance on melody, telling Vaughan Williams that there is "an implied melodic outline in all vital music". His themes are frequently modal instead of using the familiar major or minor scales. As a result, there are few leading notes in his output. Chords of the ninth and eleventh and unresolved appoggiaturas, such as those in the Valses nobles et sentimentales, are characteristic of Ravel's harmonic language.Dance forms appealed to Ravel, most famously the bolero and pavane, but also the minuet, forlane, rigaudon, waltz, czardas, habanera and passacaglia. National and regional consciousness was important to him, and although a planned concerto on Basque themes never materialised, his works include allusions to Hebraic, Greek, Hungarian and gypsy themes. He wrote several short pieces paying tribute to composers he admired – Borodin, Chabrier, Fauré and Haydn, interpreting their characteristics in a Ravellian style. Another important influence was literary rather than musical: Ravel said that he learnt from Poe that "true art is a perfect balance between pure intellect and emotion", with the corollary that a piece of music should be a perfectly balanced entity with no irrelevant material allowed to intrude.

Question: What is the name of the person whose new melodic and rhythmic content, as well as innovative harmonies, were often presented using traditional structures and forms?
Answer: Ravel
Ravel completed two operas, and worked on three others. The unrealised three were Olympia, La cloche engloutie and Jeanne d'Arc. Olympia was to be based on Hoffmann's The Sandman; he made sketches for it in 1898–99, but did not progress far. La cloche engloutie after Hauptmann's The Sunken Bell occupied him intermittently from 1906 to 1912, Ravel destroyed the sketches for both these works, except for a "Symphonie horlogère" which he incorporated into the opening of L'heure espagnole. The third unrealised project was an operatic version of Joseph Delteil's 1925 novel about Joan of Arc. It was to be a large-scale, full-length work for the Paris Opéra, but Ravel's final illness prevented him from writing it.Ravel's first completed opera was L'heure espagnole (premiered in 1911), described as a "comédie musicale". It is among the works set in or illustrating Spain that Ravel wrote throughout his career. Nichols comments that the essential Spanish colouring gave Ravel a reason for virtuoso use of the modern orchestra, which the composer considered "perfectly designed for underlining and exaggerating comic effects". Edward Burlingame Hill found Ravel's vocal writing particularly skilful in the work, "giving the singers something besides recitative without hampering the action", and "commenting orchestrally upon the dramatic situations and the sentiments of the actors without diverting attention from the stage." Some find the characters artificial and the piece lacking in humanity. The critic David Murray writes that the score "glows with the famous Ravel tendresse".The second opera, also in one act, is L'enfant et les sortilèges (1926), a "fantaisie lyrique" to a libretto by Colette. She and Ravel had planned the story as a ballet, but at the composer's suggestion Colette turned it into an opera libretto. It is more uncompromisingly modern in its musical style than L'heure espagnole, and the jazz elements and bitonality of much of the work upset many Parisian opera-goers. Ravel was once again accused of artificiality and lack of human emotion, but Nichols finds "profoundly serious feeling at the heart of this vivid and entertaining work". The score presents an impression of simplicity, disguising intricate links between themes, with, in Murray's phrase, "extraordinary and bewitching sounds from the orchestra pit throughout".Although one-act operas are generally staged less often than full-length ones, Ravel's are produced regularly in France and abroad.

Question: What is the name of the opera where critics accused the man who completed two operas of artificiality and lack of human emotion?
Answer: L'enfant et les sortilèges
Ravel completed two operas, and worked on three others. The unrealised three were Olympia, La cloche engloutie and Jeanne d'Arc. Olympia was to be based on Hoffmann's The Sandman; he made sketches for it in 1898–99, but did not progress far. La cloche engloutie after Hauptmann's The Sunken Bell occupied him intermittently from 1906 to 1912, Ravel destroyed the sketches for both these works, except for a "Symphonie horlogère" which he incorporated into the opening of L'heure espagnole. The third unrealised project was an operatic version of Joseph Delteil's 1925 novel about Joan of Arc. It was to be a large-scale, full-length work for the Paris Opéra, but Ravel's final illness prevented him from writing it.Ravel's first completed opera was L'heure espagnole (premiered in 1911), described as a "comédie musicale". It is among the works set in or illustrating Spain that Ravel wrote throughout his career. Nichols comments that the essential Spanish colouring gave Ravel a reason for virtuoso use of the modern orchestra, which the composer considered "perfectly designed for underlining and exaggerating comic effects". Edward Burlingame Hill found Ravel's vocal writing particularly skilful in the work, "giving the singers something besides recitative without hampering the action", and "commenting orchestrally upon the dramatic situations and the sentiments of the actors without diverting attention from the stage." Some find the characters artificial and the piece lacking in humanity. The critic David Murray writes that the score "glows with the famous Ravel tendresse".The second opera, also in one act, is L'enfant et les sortilèges (1926), a "fantaisie lyrique" to a libretto by Colette. She and Ravel had planned the story as a ballet, but at the composer's suggestion Colette turned it into an opera libretto. It is more uncompromisingly modern in its musical style than L'heure espagnole, and the jazz elements and bitonality of much of the work upset many Parisian opera-goers. Ravel was once again accused of artificiality and lack of human emotion, but Nichols finds "profoundly serious feeling at the heart of this vivid and entertaining work". The score presents an impression of simplicity, disguising intricate links between themes, with, in Murray's phrase, "extraordinary and bewitching sounds from the orchestra pit throughout".Although one-act operas are generally staged less often than full-length ones, Ravel's are produced regularly in France and abroad.

Question: What is the name of the opera that was initially planned as a ballet by the man who could not complete a full-length work due to illness?
Answer: L'enfant et les sortilèges
Ravel completed two operas, and worked on three others. The unrealised three were Olympia, La cloche engloutie and Jeanne d'Arc. Olympia was to be based on Hoffmann's The Sandman; he made sketches for it in 1898–99, but did not progress far. La cloche engloutie after Hauptmann's The Sunken Bell occupied him intermittently from 1906 to 1912, Ravel destroyed the sketches for both these works, except for a "Symphonie horlogère" which he incorporated into the opening of L'heure espagnole. The third unrealised project was an operatic version of Joseph Delteil's 1925 novel about Joan of Arc. It was to be a large-scale, full-length work for the Paris Opéra, but Ravel's final illness prevented him from writing it.Ravel's first completed opera was L'heure espagnole (premiered in 1911), described as a "comédie musicale". It is among the works set in or illustrating Spain that Ravel wrote throughout his career. Nichols comments that the essential Spanish colouring gave Ravel a reason for virtuoso use of the modern orchestra, which the composer considered "perfectly designed for underlining and exaggerating comic effects". Edward Burlingame Hill found Ravel's vocal writing particularly skilful in the work, "giving the singers something besides recitative without hampering the action", and "commenting orchestrally upon the dramatic situations and the sentiments of the actors without diverting attention from the stage." Some find the characters artificial and the piece lacking in humanity. The critic David Murray writes that the score "glows with the famous Ravel tendresse".The second opera, also in one act, is L'enfant et les sortilèges (1926), a "fantaisie lyrique" to a libretto by Colette. She and Ravel had planned the story as a ballet, but at the composer's suggestion Colette turned it into an opera libretto. It is more uncompromisingly modern in its musical style than L'heure espagnole, and the jazz elements and bitonality of much of the work upset many Parisian opera-goers. Ravel was once again accused of artificiality and lack of human emotion, but Nichols finds "profoundly serious feeling at the heart of this vivid and entertaining work". The score presents an impression of simplicity, disguising intricate links between themes, with, in Murray's phrase, "extraordinary and bewitching sounds from the orchestra pit throughout".Although one-act operas are generally staged less often than full-length ones, Ravel's are produced regularly in France and abroad.

Question: What is the name of the work that had a score that presents an impression of simplicity?
Answer: L'enfant et les sortilèges
Ravel completed two operas, and worked on three others. The unrealised three were Olympia, La cloche engloutie and Jeanne d'Arc. Olympia was to be based on Hoffmann's The Sandman; he made sketches for it in 1898–99, but did not progress far. La cloche engloutie after Hauptmann's The Sunken Bell occupied him intermittently from 1906 to 1912, Ravel destroyed the sketches for both these works, except for a "Symphonie horlogère" which he incorporated into the opening of L'heure espagnole. The third unrealised project was an operatic version of Joseph Delteil's 1925 novel about Joan of Arc. It was to be a large-scale, full-length work for the Paris Opéra, but Ravel's final illness prevented him from writing it.Ravel's first completed opera was L'heure espagnole (premiered in 1911), described as a "comédie musicale". It is among the works set in or illustrating Spain that Ravel wrote throughout his career. Nichols comments that the essential Spanish colouring gave Ravel a reason for virtuoso use of the modern orchestra, which the composer considered "perfectly designed for underlining and exaggerating comic effects". Edward Burlingame Hill found Ravel's vocal writing particularly skilful in the work, "giving the singers something besides recitative without hampering the action", and "commenting orchestrally upon the dramatic situations and the sentiments of the actors without diverting attention from the stage." Some find the characters artificial and the piece lacking in humanity. The critic David Murray writes that the score "glows with the famous Ravel tendresse".The second opera, also in one act, is L'enfant et les sortilèges (1926), a "fantaisie lyrique" to a libretto by Colette. She and Ravel had planned the story as a ballet, but at the composer's suggestion Colette turned it into an opera libretto. It is more uncompromisingly modern in its musical style than L'heure espagnole, and the jazz elements and bitonality of much of the work upset many Parisian opera-goers. Ravel was once again accused of artificiality and lack of human emotion, but Nichols finds "profoundly serious feeling at the heart of this vivid and entertaining work". The score presents an impression of simplicity, disguising intricate links between themes, with, in Murray's phrase, "extraordinary and bewitching sounds from the orchestra pit throughout".Although one-act operas are generally staged less often than full-length ones, Ravel's are produced regularly in France and abroad.

Question: What is the full name of the critic who found the first opera by the man who completed two operas had vocal writing that was particularly skillful?
Answer: Edward Burlingame Hill
A substantial proportion of Ravel's output was vocal. His early works in that sphere include cantatas written for his unsuccessful attempts at the Prix de Rome. His other vocal music from that period shows Debussy's influence, in what Kelly describes as "a static, recitative-like vocal style", prominent piano parts and rhythmic flexibility. By 1906 Ravel was taking even further than Debussy the natural, sometimes colloquial, setting of the French language in Histoires naturelles. The same technique is highlighted in Trois poèmes de Mallarmé (1913); Debussy set two of the three poems at the same time as Ravel, and the former's word-setting is noticeably more formal than the latter's, in which syllables are often elided. In the cycles Shéhérazade and Chansons madécasses, Ravel gives vent to his taste for the exotic, even the sensual, in both the vocal line and the accompaniment.Ravel's songs often draw on vernacular styles, using elements of many folk traditions in such works as Cinq mélodies populaires grecques, Deux mélodies hébraïques and Chants populaires. Among the poets on whose lyrics he drew were Marot, Léon-Paul Fargue, Leconte de Lisle and Verlaine. For three songs dating from 1914–15, he wrote his own texts.Although Ravel wrote for mixed choirs and male solo voices, he is chiefly associated, in his songs, with the soprano and mezzo-soprano voices. Even when setting lyrics clearly narrated by a man, he often favoured a female voice, and he seems to have preferred his best-known cycle, Shéhérazade, to be sung by a woman, although a tenor voice is a permitted alternative in the score.

Question: Whose vocal music did Kelly describe as "a static, recitative-like vocal style"?
Answer: Ravel
A substantial proportion of Ravel's output was vocal. His early works in that sphere include cantatas written for his unsuccessful attempts at the Prix de Rome. His other vocal music from that period shows Debussy's influence, in what Kelly describes as "a static, recitative-like vocal style", prominent piano parts and rhythmic flexibility. By 1906 Ravel was taking even further than Debussy the natural, sometimes colloquial, setting of the French language in Histoires naturelles. The same technique is highlighted in Trois poèmes de Mallarmé (1913); Debussy set two of the three poems at the same time as Ravel, and the former's word-setting is noticeably more formal than the latter's, in which syllables are often elided. In the cycles Shéhérazade and Chansons madécasses, Ravel gives vent to his taste for the exotic, even the sensual, in both the vocal line and the accompaniment.Ravel's songs often draw on vernacular styles, using elements of many folk traditions in such works as Cinq mélodies populaires grecques, Deux mélodies hébraïques and Chants populaires. Among the poets on whose lyrics he drew were Marot, Léon-Paul Fargue, Leconte de Lisle and Verlaine. For three songs dating from 1914–15, he wrote his own texts.Although Ravel wrote for mixed choirs and male solo voices, he is chiefly associated, in his songs, with the soprano and mezzo-soprano voices. Even when setting lyrics clearly narrated by a man, he often favoured a female voice, and he seems to have preferred his best-known cycle, Shéhérazade, to be sung by a woman, although a tenor voice is a permitted alternative in the score.

Question: Whose word-setting is noticeably more formal?
Answer: Debussy
A substantial proportion of Ravel's output was vocal. His early works in that sphere include cantatas written for his unsuccessful attempts at the Prix de Rome. His other vocal music from that period shows Debussy's influence, in what Kelly describes as "a static, recitative-like vocal style", prominent piano parts and rhythmic flexibility. By 1906 Ravel was taking even further than Debussy the natural, sometimes colloquial, setting of the French language in Histoires naturelles. The same technique is highlighted in Trois poèmes de Mallarmé (1913); Debussy set two of the three poems at the same time as Ravel, and the former's word-setting is noticeably more formal than the latter's, in which syllables are often elided. In the cycles Shéhérazade and Chansons madécasses, Ravel gives vent to his taste for the exotic, even the sensual, in both the vocal line and the accompaniment.Ravel's songs often draw on vernacular styles, using elements of many folk traditions in such works as Cinq mélodies populaires grecques, Deux mélodies hébraïques and Chants populaires. Among the poets on whose lyrics he drew were Marot, Léon-Paul Fargue, Leconte de Lisle and Verlaine. For three songs dating from 1914–15, he wrote his own texts.Although Ravel wrote for mixed choirs and male solo voices, he is chiefly associated, in his songs, with the soprano and mezzo-soprano voices. Even when setting lyrics clearly narrated by a man, he often favoured a female voice, and he seems to have preferred his best-known cycle, Shéhérazade, to be sung by a woman, although a tenor voice is a permitted alternative in the score.

Question: What is the name of the person whose word-setting is noticeably more formal than Ravel's?
Answer: Debussy
A substantial proportion of Ravel's output was vocal. His early works in that sphere include cantatas written for his unsuccessful attempts at the Prix de Rome. His other vocal music from that period shows Debussy's influence, in what Kelly describes as "a static, recitative-like vocal style", prominent piano parts and rhythmic flexibility. By 1906 Ravel was taking even further than Debussy the natural, sometimes colloquial, setting of the French language in Histoires naturelles. The same technique is highlighted in Trois poèmes de Mallarmé (1913); Debussy set two of the three poems at the same time as Ravel, and the former's word-setting is noticeably more formal than the latter's, in which syllables are often elided. In the cycles Shéhérazade and Chansons madécasses, Ravel gives vent to his taste for the exotic, even the sensual, in both the vocal line and the accompaniment.Ravel's songs often draw on vernacular styles, using elements of many folk traditions in such works as Cinq mélodies populaires grecques, Deux mélodies hébraïques and Chants populaires. Among the poets on whose lyrics he drew were Marot, Léon-Paul Fargue, Leconte de Lisle and Verlaine. For three songs dating from 1914–15, he wrote his own texts.Although Ravel wrote for mixed choirs and male solo voices, he is chiefly associated, in his songs, with the soprano and mezzo-soprano voices. Even when setting lyrics clearly narrated by a man, he often favoured a female voice, and he seems to have preferred his best-known cycle, Shéhérazade, to be sung by a woman, although a tenor voice is a permitted alternative in the score.

Question: What is the name of the person whose early vocal music from the Prix de Rome period is described by Kelly as "a static, recitative-like vocal style," with prominent piano parts and rhythmic flexibility?
Answer: Ravel
A substantial proportion of Ravel's output was vocal. His early works in that sphere include cantatas written for his unsuccessful attempts at the Prix de Rome. His other vocal music from that period shows Debussy's influence, in what Kelly describes as "a static, recitative-like vocal style", prominent piano parts and rhythmic flexibility. By 1906 Ravel was taking even further than Debussy the natural, sometimes colloquial, setting of the French language in Histoires naturelles. The same technique is highlighted in Trois poèmes de Mallarmé (1913); Debussy set two of the three poems at the same time as Ravel, and the former's word-setting is noticeably more formal than the latter's, in which syllables are often elided. In the cycles Shéhérazade and Chansons madécasses, Ravel gives vent to his taste for the exotic, even the sensual, in both the vocal line and the accompaniment.Ravel's songs often draw on vernacular styles, using elements of many folk traditions in such works as Cinq mélodies populaires grecques, Deux mélodies hébraïques and Chants populaires. Among the poets on whose lyrics he drew were Marot, Léon-Paul Fargue, Leconte de Lisle and Verlaine. For three songs dating from 1914–15, he wrote his own texts.Although Ravel wrote for mixed choirs and male solo voices, he is chiefly associated, in his songs, with the soprano and mezzo-soprano voices. Even when setting lyrics clearly narrated by a man, he often favoured a female voice, and he seems to have preferred his best-known cycle, Shéhérazade, to be sung by a woman, although a tenor voice is a permitted alternative in the score.

Question: What is the name of the person who drew upon the lyrics of poets that included Marot, Léon-Paul Fargue, Leconte de Lisle, and Verlaine?
Answer: Ravel
During his lifetime it was above all as a master of orchestration that Ravel was famous. He minutely studied the ability of each orchestral instrument to determine its potential, putting its individual colour and timbre to maximum use. The critic Alexis Roland-Manuel wrote, "In reality he is, with Stravinsky, the one man in the world who best knows the weight of a trombone-note, the harmonics of a 'cello or a pp tam-tam in the relationships of one orchestral group to another."
For all Ravel's orchestral mastery, only four of his works were conceived as concert works for symphony orchestra: Rapsodie espagnole, La valse and the two concertos. All the other orchestral works were written either for the stage, as in Daphnis et Chloé, or as a reworking of piano pieces, Alborada del gracioso and Une barque sur l'ocean, (Miroirs), Valses nobles et sentimentales,  Ma mère l'Oye, Tzigane (originally for violin and piano) and Le tombeau de Couperin. In the orchestral versions, the instrumentation generally clarifies the harmonic language of the score and brings sharpness to classical dance rhythms. Occasionally, as in the Alborada del gracioso, critics have found the later orchestral version less persuasive than the sharp-edged piano original.In some of his scores from the 1920s, including Daphnis et Chloé, Ravel frequently divides his upper strings, having them play in six to eight parts while the woodwind are required to play with extreme agility. His writing for the brass ranges from softly muted to triple-forte outbursts at climactic points. In the 1930s he tended to simplify his orchestral textures. The lighter tone of the G major Piano Concerto follows the models of Mozart and Saint-Saëns, alongside use of jazz-like themes. The critics Edward Sackville-West and Desmond Shawe-Taylor comment that in the slow movement, "one of the most beautiful tunes Ravel ever invented", the composer "can truly be said to join hands with Mozart". The most popular of Ravel's orchestral works, Boléro (1928), was conceived several years before its completion; in 1924 he said that he was contemplating "a symphonic poem without a subject, where the whole interest will be in the rhythm".Ravel made orchestral versions of piano works by Schumann, Chabrier, Debussy and Mussorgsky's piano suite Pictures at an Exhibition. Orchestral versions of the last by Mikhail Tushmalov, Sir Henry Wood and Leo Funtek predated Ravel's 1922 version, and many more have been made since, but Ravel's remains the best known. Kelly remarks on its "dazzling array of instrumental colour", and a contemporary reviewer commented on how, in dealing with another composer's music, Ravel had produced an orchestral sound wholly unlike his own.

Question: Who does Alexis Roland-Manuel state,  with Stravinsky, is the one man in the world who best knows the weight of a trombone-note, the harmonics of a 'cello or a pp tam-tam in the relationships of one orchestral group to another?
Answer: Ravel
During his lifetime it was above all as a master of orchestration that Ravel was famous. He minutely studied the ability of each orchestral instrument to determine its potential, putting its individual colour and timbre to maximum use. The critic Alexis Roland-Manuel wrote, "In reality he is, with Stravinsky, the one man in the world who best knows the weight of a trombone-note, the harmonics of a 'cello or a pp tam-tam in the relationships of one orchestral group to another."
For all Ravel's orchestral mastery, only four of his works were conceived as concert works for symphony orchestra: Rapsodie espagnole, La valse and the two concertos. All the other orchestral works were written either for the stage, as in Daphnis et Chloé, or as a reworking of piano pieces, Alborada del gracioso and Une barque sur l'ocean, (Miroirs), Valses nobles et sentimentales,  Ma mère l'Oye, Tzigane (originally for violin and piano) and Le tombeau de Couperin. In the orchestral versions, the instrumentation generally clarifies the harmonic language of the score and brings sharpness to classical dance rhythms. Occasionally, as in the Alborada del gracioso, critics have found the later orchestral version less persuasive than the sharp-edged piano original.In some of his scores from the 1920s, including Daphnis et Chloé, Ravel frequently divides his upper strings, having them play in six to eight parts while the woodwind are required to play with extreme agility. His writing for the brass ranges from softly muted to triple-forte outbursts at climactic points. In the 1930s he tended to simplify his orchestral textures. The lighter tone of the G major Piano Concerto follows the models of Mozart and Saint-Saëns, alongside use of jazz-like themes. The critics Edward Sackville-West and Desmond Shawe-Taylor comment that in the slow movement, "one of the most beautiful tunes Ravel ever invented", the composer "can truly be said to join hands with Mozart". The most popular of Ravel's orchestral works, Boléro (1928), was conceived several years before its completion; in 1924 he said that he was contemplating "a symphonic poem without a subject, where the whole interest will be in the rhythm".Ravel made orchestral versions of piano works by Schumann, Chabrier, Debussy and Mussorgsky's piano suite Pictures at an Exhibition. Orchestral versions of the last by Mikhail Tushmalov, Sir Henry Wood and Leo Funtek predated Ravel's 1922 version, and many more have been made since, but Ravel's remains the best known. Kelly remarks on its "dazzling array of instrumental colour", and a contemporary reviewer commented on how, in dealing with another composer's music, Ravel had produced an orchestral sound wholly unlike his own.

Question: What does Ravel have play in six to eight parts while the woodwind are required to play with extreme agility?
Answer: his upper strings
During his lifetime it was above all as a master of orchestration that Ravel was famous. He minutely studied the ability of each orchestral instrument to determine its potential, putting its individual colour and timbre to maximum use. The critic Alexis Roland-Manuel wrote, "In reality he is, with Stravinsky, the one man in the world who best knows the weight of a trombone-note, the harmonics of a 'cello or a pp tam-tam in the relationships of one orchestral group to another."
For all Ravel's orchestral mastery, only four of his works were conceived as concert works for symphony orchestra: Rapsodie espagnole, La valse and the two concertos. All the other orchestral works were written either for the stage, as in Daphnis et Chloé, or as a reworking of piano pieces, Alborada del gracioso and Une barque sur l'ocean, (Miroirs), Valses nobles et sentimentales,  Ma mère l'Oye, Tzigane (originally for violin and piano) and Le tombeau de Couperin. In the orchestral versions, the instrumentation generally clarifies the harmonic language of the score and brings sharpness to classical dance rhythms. Occasionally, as in the Alborada del gracioso, critics have found the later orchestral version less persuasive than the sharp-edged piano original.In some of his scores from the 1920s, including Daphnis et Chloé, Ravel frequently divides his upper strings, having them play in six to eight parts while the woodwind are required to play with extreme agility. His writing for the brass ranges from softly muted to triple-forte outbursts at climactic points. In the 1930s he tended to simplify his orchestral textures. The lighter tone of the G major Piano Concerto follows the models of Mozart and Saint-Saëns, alongside use of jazz-like themes. The critics Edward Sackville-West and Desmond Shawe-Taylor comment that in the slow movement, "one of the most beautiful tunes Ravel ever invented", the composer "can truly be said to join hands with Mozart". The most popular of Ravel's orchestral works, Boléro (1928), was conceived several years before its completion; in 1924 he said that he was contemplating "a symphonic poem without a subject, where the whole interest will be in the rhythm".Ravel made orchestral versions of piano works by Schumann, Chabrier, Debussy and Mussorgsky's piano suite Pictures at an Exhibition. Orchestral versions of the last by Mikhail Tushmalov, Sir Henry Wood and Leo Funtek predated Ravel's 1922 version, and many more have been made since, but Ravel's remains the best known. Kelly remarks on its "dazzling array of instrumental colour", and a contemporary reviewer commented on how, in dealing with another composer's music, Ravel had produced an orchestral sound wholly unlike his own.

Question: Who does the critics state can truly be said to join hands with Mozart?
Answer: Ravel
The Hudson Valley Rail Trail is a paved 4-mile (6.4 km) east–west rail trail in the town of Lloyd in Ulster County, New York, stretching from the Hudson River through the hamlet of Highland. The trail was originally part of the Poughkeepsie Bridge Route, a rail corridor that crossed the Hudson via the Poughkeepsie Bridge. Controlled by a variety of railroads throughout the 19th and 20th centuries, the bridge was damaged and became unusable after a 1974 fire. By the 1980s the corridor's then-owner, Conrail, had routed all rail traffic in the region north through Selkirk, and was eager to relieve itself of the bridge and adjoining rights-of-way. In 1984, it sold the entire property for one dollar to a felon who did not maintain it or pay taxes on it. The section of the corridor west of the Hudson was seized by Ulster County in 1991 and transferred to the town of Lloyd.
During the 1990s, a broadband utility seeking to lay fiber optic cable paid the town to pass through the former corridor. The town used part of its payment to pave the route and open it as a public rail trail in 1997. The creation of the trail was supported by a local Rotary club, which built a pavilion along the trail. The pavilion includes a donated antique caboose. While the trail originally ended at Route 44–55, it was extended eastward between 2009 and 2010, intersecting Route 9W and continuing to the Poughkeepsie Bridge. The extension was paid for by stimulus funding.
The bridge, now a pedestrian walkway called Walkway Over the Hudson, connects the trail with the Dutchess Rail Trail to the east, creating a 30-mile (48 km) rail trail system that spans the Hudson. The trail is expected to be extended west, where it will border Route 299. As it passes through Highland, the trail is carried by several bridges, connects to four parking areas, and traverses a wetlands complex. The trail forms part of the proposed Empire State Trail.

Question: What is the full name of the structure that was damaged and became unusable after a fire in 1974?
Answer: Poughkeepsie Bridge
Lloyd's police department became the first in the county to purchase a Segway, in 2007, for the express purpose of patrolling the rail trail. The trail has been occasionally vandalized. Lloyd's Police Chief felt that use of such a vehicle would enable officers to patrol the trail for longer periods of time, and that it could also be used to patrol other areas of the town. Seven officers were expected to use the Segway, which contains an automated external defibrillator, and can go as fast as 12 1⁄2 miles per hour (20.1 km/h).In March 2009, Ulster County received almost $21 million in stimulus funds. The funding included a $3.16 million project to complete the trail between Lloyd and the Poughkeepsie Bridge. Some funding for the architectural and engineering aspects of the project came from the reserve fund created after the town's fiber optic deal. The Rail Trail Association also received a $1,500 grant from a public-benefit corporation, the Hudson River Valley Greenway, to print brochures. Construction for the 1.28-mile (2.06 km) section was underway by that September. In March 2010, a portion of New Paltz Road was closed pending the replacement of a bridge over the trail.The official groundbreaking ceremony took place on May 4, 2010, and the trail was expected to be completed by October. The bridge over Vineyard Avenue was opened to pedestrian traffic on July 16, 2010. The only remaining obstruction was the placement of a bridge carrying Mile Hill Road over the trail, which was expected to be completed in August. The crossing at US 9W had been remedied; the new section let "users to cross either over or under" the highway. To celebrate the opening of the Vineyard Avenue bridge, Route 44–55 throughout Highland (which includes Vineyard Avenue) was shut down for the day. The eastern expansion does not deviate from the original route of the corridor, and officially opened on October 2, 2010.Between June 23 and 24, 2011, parts of the trail were spray-painted with "dozens of [...] words and images". Volunteers who removed some of the graffiti believed that different types of paint were used. Lloyd's highway superintendent noted similar vandalism elsewhere in the town, and Town Supervisor Ray Costantino stated that the incident would cause Lloyd residents to feel a personal connection to the trail and become outraged.Future expansion to the trail includes a 1-mile (1.6 km) extension to the west, to State Route 299. Lloyd has received a $1.93 million state grant to complete the western expansion, which will reach New Paltz by 2012. Both Lloyd and New Paltz have received grants to establish a connection between the Hudson Valley Rail Trail and the Wallkill Valley Rail Trail. There has never been a direct link between the Poughkeepsie Bridge and the Wallkill Valley corridor. Other plans include the development of commercial zones along the trail, and a project to connect the trail to Illinois Mountain.

Question: What is the full name of the rail trail that Lloyd's police department purchased a Segway to patrol?
Answer: Hudson Valley Rail Trail