nc33/multispan_quoref huggingface dataset:
1986 — Thomás is born with his eyes closed, and he does not open them for several weeks following the birth. Julieta, his mother, is unconcerned, believing that when Thomás is ready and wants to open his eyes, he will. These events instill a strong belief in free will in young Thomás. Two weeks after his birth, Thomás opens his eyes, apparently to look directly at his five-year-old half-brother Francisco.
1992 — Julieta is a wife and a loving mother, working in a hospital emergency department. Her free-spirited youngest son, Thomás, is the product of her marriage to her second husband Alexandre. Pedro, her first husband and father of her eldest son Francisco, lives in Argentina. Pedro and Julieta remain good friends. During childhood, Francisco and Thomás are very close, perhaps too close according to Pedro, with whom they spend a Christmas holiday in Buenos Aires. Julieta is aware of their close relationship and tries to remain understanding. Not long later, Pedro dies.
2008 — Years later, when Francisco is 27 and Thomás 22, Julieta dies. The brothers become lovers and an unusual love story ensues. Thomás is invited to live and train in Russia for a few years in preparation for the Olympics. Though it is the first time they will be apart, Thomás leaves. Francisco struggles without Thomás. He meets a woman in a club and though he tries to pursue a relationship with her, they both realize he is dedicated to someone else. Unable to be apart any longer, Francisco travels to Russia and the brothers reunite.

Question: Who has been married to Julieta at some point?
Answer: Alexandre, Pedro
The film opens in 1099 at the end of the First Crusade, depicting Christian Crusaders sacking Jerusalem and slaughtering the local population. A Flemish Christian knight named Charles Le Vaillant becomes demoralized by the horrors of war and decides to create a new religious order. This new order brings together members from the three main religions of the region: Christians, Jews, and Muslims. As a self-declared leader and messiah, Charles writes the sacred texts of the Order. While traveling to Syria his camp is attacked by the Christian knights, who kill Le Vaillant. The last chapter from their religious text, buried by Le Vaillant in a secret place, becomes lost in the desert after the attack.
In the modern day, Rudy Cafmeyer, a thief and smuggler of valuable historical artifacts, breaks into a high-security building and steals a precious Fabergé egg. He triggers an alarm in the process and is forced to fight his way out of the building, finding no car to meet him because the getaway driver, Yuri, was forced to leave by police. His problems are compounded when a potential buyer attempts to steal the egg and falls on it, destroying it.
It is revealed that Rudy's father is archaeologist and museum curator Oscar "Ozzie" Cafmeyer. Ozzie travels to Israel in search of a secret he has discovered and is kidnapped while on the phone with Rudy, who travels to Jerusalem to rescue him. Ozzie's associate, Professor Walt Finley, gives Rudy the key to a safe-deposit box in East Jerusalem before being gunned down by unknown assailants. Rudy opens the safe-deposit box and finds an ancient map showing a series of tunnels and a treasure room beneath Jerusalem.

Question: What is the first name of the person who triggers an alarm while stealing something?
Answer: Rudy
The film opens in 1099 at the end of the First Crusade, depicting Christian Crusaders sacking Jerusalem and slaughtering the local population. A Flemish Christian knight named Charles Le Vaillant becomes demoralized by the horrors of war and decides to create a new religious order. This new order brings together members from the three main religions of the region: Christians, Jews, and Muslims. As a self-declared leader and messiah, Charles writes the sacred texts of the Order. While traveling to Syria his camp is attacked by the Christian knights, who kill Le Vaillant. The last chapter from their religious text, buried by Le Vaillant in a secret place, becomes lost in the desert after the attack.
In the modern day, Rudy Cafmeyer, a thief and smuggler of valuable historical artifacts, breaks into a high-security building and steals a precious Fabergé egg. He triggers an alarm in the process and is forced to fight his way out of the building, finding no car to meet him because the getaway driver, Yuri, was forced to leave by police. His problems are compounded when a potential buyer attempts to steal the egg and falls on it, destroying it.
It is revealed that Rudy's father is archaeologist and museum curator Oscar "Ozzie" Cafmeyer. Ozzie travels to Israel in search of a secret he has discovered and is kidnapped while on the phone with Rudy, who travels to Jerusalem to rescue him. Ozzie's associate, Professor Walt Finley, gives Rudy the key to a safe-deposit box in East Jerusalem before being gunned down by unknown assailants. Rudy opens the safe-deposit box and finds an ancient map showing a series of tunnels and a treasure room beneath Jerusalem.

Question: What is the first name of the person who is forced to fight their way out of a building during a robbery?
Answer: Rudy
The film opens in 1099 at the end of the First Crusade, depicting Christian Crusaders sacking Jerusalem and slaughtering the local population. A Flemish Christian knight named Charles Le Vaillant becomes demoralized by the horrors of war and decides to create a new religious order. This new order brings together members from the three main religions of the region: Christians, Jews, and Muslims. As a self-declared leader and messiah, Charles writes the sacred texts of the Order. While traveling to Syria his camp is attacked by the Christian knights, who kill Le Vaillant. The last chapter from their religious text, buried by Le Vaillant in a secret place, becomes lost in the desert after the attack.
In the modern day, Rudy Cafmeyer, a thief and smuggler of valuable historical artifacts, breaks into a high-security building and steals a precious Fabergé egg. He triggers an alarm in the process and is forced to fight his way out of the building, finding no car to meet him because the getaway driver, Yuri, was forced to leave by police. His problems are compounded when a potential buyer attempts to steal the egg and falls on it, destroying it.
It is revealed that Rudy's father is archaeologist and museum curator Oscar "Ozzie" Cafmeyer. Ozzie travels to Israel in search of a secret he has discovered and is kidnapped while on the phone with Rudy, who travels to Jerusalem to rescue him. Ozzie's associate, Professor Walt Finley, gives Rudy the key to a safe-deposit box in East Jerusalem before being gunned down by unknown assailants. Rudy opens the safe-deposit box and finds an ancient map showing a series of tunnels and a treasure room beneath Jerusalem.

Question: Who falls on the Faberge egg?
Answer: a potential buyer
In the middle of the night a strange masked man goes to the kingdom of Trumbeau. There, he makes a huge hole underneath a dam near the village where everybody is fast asleep and disappears. The next morning Derek, Odette and Chef Ferdinand are going to the village to have a trade agreement meeting. The Trumbeau's king and his wife were friends of King William, Odette's late father. King William once saved his life and Odette mentioned that her father often had told her about that.
While the meeting is going on, Ferdinand tries to get some new plants; unfortunately they are sold to a man named Count Antonio. Furious, Ferdinand runs to Derek, explaining what happened. They stumble upon the water leaking from the dam and alert the villagers to find higher grounds. Even Count Antonio saves a boy. The water destroys all the houses and the people don't know where to go. Odette and Derek are planning to help by telling the people to give money so they can build new houses and Count Antonio might help. In the evening Queen Uberta, Lord Rodgers, Alise, Odette, Derek, Lucas and his parents, and all the people reunite together to donate supplies and money.
Lucas's parents, now working as tulip farmers, tell Lucas to go the palace to give Alise some flowers, thanking her for reuniting the family and a new life. When Lucas arrives at the palace, he gives Alise the flowers but runs away, ashamed of their different social status.
The next morning, Count Antonio arrives at the palace with a man named Bruno and his hunting dogs, Kookoo and Cocoa. Uberta sees Count Antonio, and she falls stupidly in love with him which makes Lord Rodgers jealous. Alise overhears a suspicious conversation between Count Antonio and Bruno, and is tasked to keep an eye on him to see what he's up to, along with Rodgers, Lucas, Jean-Bob, Speed and Puffin.

Question: Who does the chef talk to after he is furious that the plants were sold to someone else?
Answer: Derek
In the middle of the night a strange masked man goes to the kingdom of Trumbeau. There, he makes a huge hole underneath a dam near the village where everybody is fast asleep and disappears. The next morning Derek, Odette and Chef Ferdinand are going to the village to have a trade agreement meeting. The Trumbeau's king and his wife were friends of King William, Odette's late father. King William once saved his life and Odette mentioned that her father often had told her about that.
While the meeting is going on, Ferdinand tries to get some new plants; unfortunately they are sold to a man named Count Antonio. Furious, Ferdinand runs to Derek, explaining what happened. They stumble upon the water leaking from the dam and alert the villagers to find higher grounds. Even Count Antonio saves a boy. The water destroys all the houses and the people don't know where to go. Odette and Derek are planning to help by telling the people to give money so they can build new houses and Count Antonio might help. In the evening Queen Uberta, Lord Rodgers, Alise, Odette, Derek, Lucas and his parents, and all the people reunite together to donate supplies and money.
Lucas's parents, now working as tulip farmers, tell Lucas to go the palace to give Alise some flowers, thanking her for reuniting the family and a new life. When Lucas arrives at the palace, he gives Alise the flowers but runs away, ashamed of their different social status.
The next morning, Count Antonio arrives at the palace with a man named Bruno and his hunting dogs, Kookoo and Cocoa. Uberta sees Count Antonio, and she falls stupidly in love with him which makes Lord Rodgers jealous. Alise overhears a suspicious conversation between Count Antonio and Bruno, and is tasked to keep an eye on him to see what he's up to, along with Rodgers, Lucas, Jean-Bob, Speed and Puffin.

Question: Who do the tulip farmers tell their son to give flowers to?
Answer: Alise
In the middle of the night a strange masked man goes to the kingdom of Trumbeau. There, he makes a huge hole underneath a dam near the village where everybody is fast asleep and disappears. The next morning Derek, Odette and Chef Ferdinand are going to the village to have a trade agreement meeting. The Trumbeau's king and his wife were friends of King William, Odette's late father. King William once saved his life and Odette mentioned that her father often had told her about that.
While the meeting is going on, Ferdinand tries to get some new plants; unfortunately they are sold to a man named Count Antonio. Furious, Ferdinand runs to Derek, explaining what happened. They stumble upon the water leaking from the dam and alert the villagers to find higher grounds. Even Count Antonio saves a boy. The water destroys all the houses and the people don't know where to go. Odette and Derek are planning to help by telling the people to give money so they can build new houses and Count Antonio might help. In the evening Queen Uberta, Lord Rodgers, Alise, Odette, Derek, Lucas and his parents, and all the people reunite together to donate supplies and money.
Lucas's parents, now working as tulip farmers, tell Lucas to go the palace to give Alise some flowers, thanking her for reuniting the family and a new life. When Lucas arrives at the palace, he gives Alise the flowers but runs away, ashamed of their different social status.
The next morning, Count Antonio arrives at the palace with a man named Bruno and his hunting dogs, Kookoo and Cocoa. Uberta sees Count Antonio, and she falls stupidly in love with him which makes Lord Rodgers jealous. Alise overhears a suspicious conversation between Count Antonio and Bruno, and is tasked to keep an eye on him to see what he's up to, along with Rodgers, Lucas, Jean-Bob, Speed and Puffin.

Question: Who owns the hunting dogs that the Count shows up to the palace with?
Answer: Bruno
In the middle of the night a strange masked man goes to the kingdom of Trumbeau. There, he makes a huge hole underneath a dam near the village where everybody is fast asleep and disappears. The next morning Derek, Odette and Chef Ferdinand are going to the village to have a trade agreement meeting. The Trumbeau's king and his wife were friends of King William, Odette's late father. King William once saved his life and Odette mentioned that her father often had told her about that.
While the meeting is going on, Ferdinand tries to get some new plants; unfortunately they are sold to a man named Count Antonio. Furious, Ferdinand runs to Derek, explaining what happened. They stumble upon the water leaking from the dam and alert the villagers to find higher grounds. Even Count Antonio saves a boy. The water destroys all the houses and the people don't know where to go. Odette and Derek are planning to help by telling the people to give money so they can build new houses and Count Antonio might help. In the evening Queen Uberta, Lord Rodgers, Alise, Odette, Derek, Lucas and his parents, and all the people reunite together to donate supplies and money.
Lucas's parents, now working as tulip farmers, tell Lucas to go the palace to give Alise some flowers, thanking her for reuniting the family and a new life. When Lucas arrives at the palace, he gives Alise the flowers but runs away, ashamed of their different social status.
The next morning, Count Antonio arrives at the palace with a man named Bruno and his hunting dogs, Kookoo and Cocoa. Uberta sees Count Antonio, and she falls stupidly in love with him which makes Lord Rodgers jealous. Alise overhears a suspicious conversation between Count Antonio and Bruno, and is tasked to keep an eye on him to see what he's up to, along with Rodgers, Lucas, Jean-Bob, Speed and Puffin.

Question: Who is jealous of the man that Uberta falls in love with?
Answer: Lord Rodgers
In the middle of the night a strange masked man goes to the kingdom of Trumbeau. There, he makes a huge hole underneath a dam near the village where everybody is fast asleep and disappears. The next morning Derek, Odette and Chef Ferdinand are going to the village to have a trade agreement meeting. The Trumbeau's king and his wife were friends of King William, Odette's late father. King William once saved his life and Odette mentioned that her father often had told her about that.
While the meeting is going on, Ferdinand tries to get some new plants; unfortunately they are sold to a man named Count Antonio. Furious, Ferdinand runs to Derek, explaining what happened. They stumble upon the water leaking from the dam and alert the villagers to find higher grounds. Even Count Antonio saves a boy. The water destroys all the houses and the people don't know where to go. Odette and Derek are planning to help by telling the people to give money so they can build new houses and Count Antonio might help. In the evening Queen Uberta, Lord Rodgers, Alise, Odette, Derek, Lucas and his parents, and all the people reunite together to donate supplies and money.
Lucas's parents, now working as tulip farmers, tell Lucas to go the palace to give Alise some flowers, thanking her for reuniting the family and a new life. When Lucas arrives at the palace, he gives Alise the flowers but runs away, ashamed of their different social status.
The next morning, Count Antonio arrives at the palace with a man named Bruno and his hunting dogs, Kookoo and Cocoa. Uberta sees Count Antonio, and she falls stupidly in love with him which makes Lord Rodgers jealous. Alise overhears a suspicious conversation between Count Antonio and Bruno, and is tasked to keep an eye on him to see what he's up to, along with Rodgers, Lucas, Jean-Bob, Speed and Puffin.

Question: Who is suspicious of the people that arrive at the palace?
Answer: Alise
With the encouragement of his parents, Ravel applied for entry to France's most important musical college, the Conservatoire de Paris. In November 1889, playing music by Chopin, he passed the examination for admission to the preparatory piano class run by Eugène Anthiome. Ravel won the first prize in the Conservatoire's piano competition in 1891, but otherwise he did not stand out as a student.   Nevertheless, these years were a time of considerable advance in his development as a composer. The musicologist Arbie Orenstein writes that for Ravel the 1890s were a period "of immense growth ... from adolescence to maturity." 
In 1891 Ravel progressed to the classes of Charles-Wilfrid de Bériot, for piano, and Émile Pessard, for harmony. He made solid, unspectacular progress, with particular encouragement from Bériot but, in the words of the musical scholar Barbara L. Kelly, he "was only teachable on his own terms". His later teacher Gabriel Fauré understood this, but it was not generally acceptable to the conservative faculty of the Conservatoire of the 1890s. Ravel was expelled in 1895, having won no more prizes. His earliest works to survive in full are from these student days: Sérénade grotesque, for piano, and "Ballade de la Reine morte d'aimer", a mélodie setting a poem by Roland de Marès (both 1893).Ravel was never so assiduous a student of the piano as his colleagues such as Viñes and Cortot were. It was plain that as a pianist he would never match them, and his overriding ambition was to be a composer. From this point he concentrated on composition. His works from the period include the songs "Un grand sommeil noir" and "D'Anne jouant de l'espinette" to words by Paul Verlaine and Clément Marot, and the piano pieces Menuet antique and Habanera (for four-hands), the latter eventually incorporated into the Rapsodie espagnole. At around this time, Joseph Ravel introduced his son to Erik Satie, who was earning a living as a café pianist. Ravel was one of the first musicians – Debussy was another – who recognised Satie's originality and talent. Satie's constant experiments in musical form were an inspiration to Ravel, who counted them "of inestimable value".

Question: What is the name of the person who Barbara L. Kelly states was only teachable on his own terms?
Answer: Ravel
With the encouragement of his parents, Ravel applied for entry to France's most important musical college, the Conservatoire de Paris. In November 1889, playing music by Chopin, he passed the examination for admission to the preparatory piano class run by Eugène Anthiome. Ravel won the first prize in the Conservatoire's piano competition in 1891, but otherwise he did not stand out as a student.   Nevertheless, these years were a time of considerable advance in his development as a composer. The musicologist Arbie Orenstein writes that for Ravel the 1890s were a period "of immense growth ... from adolescence to maturity." 
In 1891 Ravel progressed to the classes of Charles-Wilfrid de Bériot, for piano, and Émile Pessard, for harmony. He made solid, unspectacular progress, with particular encouragement from Bériot but, in the words of the musical scholar Barbara L. Kelly, he "was only teachable on his own terms". His later teacher Gabriel Fauré understood this, but it was not generally acceptable to the conservative faculty of the Conservatoire of the 1890s. Ravel was expelled in 1895, having won no more prizes. His earliest works to survive in full are from these student days: Sérénade grotesque, for piano, and "Ballade de la Reine morte d'aimer", a mélodie setting a poem by Roland de Marès (both 1893).Ravel was never so assiduous a student of the piano as his colleagues such as Viñes and Cortot were. It was plain that as a pianist he would never match them, and his overriding ambition was to be a composer. From this point he concentrated on composition. His works from the period include the songs "Un grand sommeil noir" and "D'Anne jouant de l'espinette" to words by Paul Verlaine and Clément Marot, and the piano pieces Menuet antique and Habanera (for four-hands), the latter eventually incorporated into the Rapsodie espagnole. At around this time, Joseph Ravel introduced his son to Erik Satie, who was earning a living as a café pianist. Ravel was one of the first musicians – Debussy was another – who recognised Satie's originality and talent. Satie's constant experiments in musical form were an inspiration to Ravel, who counted them "of inestimable value".

Question: What is the name of the person who made solid, unspectacular progress, with particular encouragement from Bériot?
Answer: Ravel
With the encouragement of his parents, Ravel applied for entry to France's most important musical college, the Conservatoire de Paris. In November 1889, playing music by Chopin, he passed the examination for admission to the preparatory piano class run by Eugène Anthiome. Ravel won the first prize in the Conservatoire's piano competition in 1891, but otherwise he did not stand out as a student.   Nevertheless, these years were a time of considerable advance in his development as a composer. The musicologist Arbie Orenstein writes that for Ravel the 1890s were a period "of immense growth ... from adolescence to maturity." 
In 1891 Ravel progressed to the classes of Charles-Wilfrid de Bériot, for piano, and Émile Pessard, for harmony. He made solid, unspectacular progress, with particular encouragement from Bériot but, in the words of the musical scholar Barbara L. Kelly, he "was only teachable on his own terms". His later teacher Gabriel Fauré understood this, but it was not generally acceptable to the conservative faculty of the Conservatoire of the 1890s. Ravel was expelled in 1895, having won no more prizes. His earliest works to survive in full are from these student days: Sérénade grotesque, for piano, and "Ballade de la Reine morte d'aimer", a mélodie setting a poem by Roland de Marès (both 1893).Ravel was never so assiduous a student of the piano as his colleagues such as Viñes and Cortot were. It was plain that as a pianist he would never match them, and his overriding ambition was to be a composer. From this point he concentrated on composition. His works from the period include the songs "Un grand sommeil noir" and "D'Anne jouant de l'espinette" to words by Paul Verlaine and Clément Marot, and the piano pieces Menuet antique and Habanera (for four-hands), the latter eventually incorporated into the Rapsodie espagnole. At around this time, Joseph Ravel introduced his son to Erik Satie, who was earning a living as a café pianist. Ravel was one of the first musicians – Debussy was another – who recognised Satie's originality and talent. Satie's constant experiments in musical form were an inspiration to Ravel, who counted them "of inestimable value".

Question: What are the names of the two colleagues who it was plain that Ravel, as a pianist, would never match?
Answer: Viñes, Cortot
With the encouragement of his parents, Ravel applied for entry to France's most important musical college, the Conservatoire de Paris. In November 1889, playing music by Chopin, he passed the examination for admission to the preparatory piano class run by Eugène Anthiome. Ravel won the first prize in the Conservatoire's piano competition in 1891, but otherwise he did not stand out as a student.   Nevertheless, these years were a time of considerable advance in his development as a composer. The musicologist Arbie Orenstein writes that for Ravel the 1890s were a period "of immense growth ... from adolescence to maturity." 
In 1891 Ravel progressed to the classes of Charles-Wilfrid de Bériot, for piano, and Émile Pessard, for harmony. He made solid, unspectacular progress, with particular encouragement from Bériot but, in the words of the musical scholar Barbara L. Kelly, he "was only teachable on his own terms". His later teacher Gabriel Fauré understood this, but it was not generally acceptable to the conservative faculty of the Conservatoire of the 1890s. Ravel was expelled in 1895, having won no more prizes. His earliest works to survive in full are from these student days: Sérénade grotesque, for piano, and "Ballade de la Reine morte d'aimer", a mélodie setting a poem by Roland de Marès (both 1893).Ravel was never so assiduous a student of the piano as his colleagues such as Viñes and Cortot were. It was plain that as a pianist he would never match them, and his overriding ambition was to be a composer. From this point he concentrated on composition. His works from the period include the songs "Un grand sommeil noir" and "D'Anne jouant de l'espinette" to words by Paul Verlaine and Clément Marot, and the piano pieces Menuet antique and Habanera (for four-hands), the latter eventually incorporated into the Rapsodie espagnole. At around this time, Joseph Ravel introduced his son to Erik Satie, who was earning a living as a café pianist. Ravel was one of the first musicians – Debussy was another – who recognised Satie's originality and talent. Satie's constant experiments in musical form were an inspiration to Ravel, who counted them "of inestimable value".

Question: What is the name of the person whose overriding ambition was to be a composer?
Answer: Ravel
With the encouragement of his parents, Ravel applied for entry to France's most important musical college, the Conservatoire de Paris. In November 1889, playing music by Chopin, he passed the examination for admission to the preparatory piano class run by Eugène Anthiome. Ravel won the first prize in the Conservatoire's piano competition in 1891, but otherwise he did not stand out as a student.   Nevertheless, these years were a time of considerable advance in his development as a composer. The musicologist Arbie Orenstein writes that for Ravel the 1890s were a period "of immense growth ... from adolescence to maturity." 
In 1891 Ravel progressed to the classes of Charles-Wilfrid de Bériot, for piano, and Émile Pessard, for harmony. He made solid, unspectacular progress, with particular encouragement from Bériot but, in the words of the musical scholar Barbara L. Kelly, he "was only teachable on his own terms". His later teacher Gabriel Fauré understood this, but it was not generally acceptable to the conservative faculty of the Conservatoire of the 1890s. Ravel was expelled in 1895, having won no more prizes. His earliest works to survive in full are from these student days: Sérénade grotesque, for piano, and "Ballade de la Reine morte d'aimer", a mélodie setting a poem by Roland de Marès (both 1893).Ravel was never so assiduous a student of the piano as his colleagues such as Viñes and Cortot were. It was plain that as a pianist he would never match them, and his overriding ambition was to be a composer. From this point he concentrated on composition. His works from the period include the songs "Un grand sommeil noir" and "D'Anne jouant de l'espinette" to words by Paul Verlaine and Clément Marot, and the piano pieces Menuet antique and Habanera (for four-hands), the latter eventually incorporated into the Rapsodie espagnole. At around this time, Joseph Ravel introduced his son to Erik Satie, who was earning a living as a café pianist. Ravel was one of the first musicians – Debussy was another – who recognised Satie's originality and talent. Satie's constant experiments in musical form were an inspiration to Ravel, who counted them "of inestimable value".

Question: What is the first name of the person whose constant experiments in musical form were an inspiration to Ravel?
Answer: Erik
In 1897 Ravel was readmitted to the Conservatoire, studying composition with Fauré, and taking private lessons in counterpoint with André Gedalge. Both these teachers, particularly Fauré, regarded him highly and were key influences on his development as a composer. As Ravel's course progressed, Fauré reported "a distinct gain in maturity ... engaging wealth of imagination". Ravel's standing at the Conservatoire was nevertheless undermined by the hostility of the Director, Théodore Dubois, who deplored the young man's musically and politically progressive outlook. Consequently, according to a fellow-student, Michel-Dimitri Calvocoressi, he was "a marked man, against whom all weapons were good". He wrote some substantial works while studying with Fauré, including the overture Shéhérazade and a violin sonata, but he won no prizes, and therefore was expelled again in 1900. As a former student he was allowed to attend Fauré's classes as a non-participating "auditeur" until finally abandoning the Conservatoire in 1903.In 1899 Ravel composed his first piece to become widely known, though it made little impact initially: Pavane pour une infante défunte ("Pavane for a dead princess"). It was originally a solo piano work, commissioned by the Princesse de Polignac. In 1897 he conducted the first performance of the Shéhérazade overture, which had a mixed reception, with boos mingling with applause from the audience, and unflattering reviews from the critics. One described the piece as "a jolting debut: a clumsy plagiarism of the Russian School" and called Ravel a "mediocrely gifted debutant ... who will perhaps become something if not someone in about ten years, if he works hard." Another critic, Pierre Lalo, thought that Ravel showed talent, but was too indebted to Debussy and should instead emulate Beethoven. Over the succeeding decades Lalo became Ravel's most implacable critic.From the start of his career, Ravel appeared calmly indifferent to blame or praise. Those who knew him well believed that this was no pose but wholly genuine. The only opinion of his music that he truly valued was his own, perfectionist and severely self-critical. At twenty years of age he was, in the words of the biographer Burnett James, "self-possessed, a little aloof, intellectually biased, given to mild banter." He dressed like a dandy and was meticulous about his appearance and demeanour. Orenstein comments that, short in stature, light in frame, and bony in features, Ravel had the "appearance of a well-dressed jockey", whose large head seemed suitably matched to his formidable intellect. During the late 1890s and into the early years of the next century, Ravel was bearded in the fashion of the day; from his mid-thirties he was clean-shaven.

Question: What are the names of Ravel's two teachers who were key influences on his development as a composer?
Answer: Fauré, André Gedalge
In 1897 Ravel was readmitted to the Conservatoire, studying composition with Fauré, and taking private lessons in counterpoint with André Gedalge. Both these teachers, particularly Fauré, regarded him highly and were key influences on his development as a composer. As Ravel's course progressed, Fauré reported "a distinct gain in maturity ... engaging wealth of imagination". Ravel's standing at the Conservatoire was nevertheless undermined by the hostility of the Director, Théodore Dubois, who deplored the young man's musically and politically progressive outlook. Consequently, according to a fellow-student, Michel-Dimitri Calvocoressi, he was "a marked man, against whom all weapons were good". He wrote some substantial works while studying with Fauré, including the overture Shéhérazade and a violin sonata, but he won no prizes, and therefore was expelled again in 1900. As a former student he was allowed to attend Fauré's classes as a non-participating "auditeur" until finally abandoning the Conservatoire in 1903.In 1899 Ravel composed his first piece to become widely known, though it made little impact initially: Pavane pour une infante défunte ("Pavane for a dead princess"). It was originally a solo piano work, commissioned by the Princesse de Polignac. In 1897 he conducted the first performance of the Shéhérazade overture, which had a mixed reception, with boos mingling with applause from the audience, and unflattering reviews from the critics. One described the piece as "a jolting debut: a clumsy plagiarism of the Russian School" and called Ravel a "mediocrely gifted debutant ... who will perhaps become something if not someone in about ten years, if he works hard." Another critic, Pierre Lalo, thought that Ravel showed talent, but was too indebted to Debussy and should instead emulate Beethoven. Over the succeeding decades Lalo became Ravel's most implacable critic.From the start of his career, Ravel appeared calmly indifferent to blame or praise. Those who knew him well believed that this was no pose but wholly genuine. The only opinion of his music that he truly valued was his own, perfectionist and severely self-critical. At twenty years of age he was, in the words of the biographer Burnett James, "self-possessed, a little aloof, intellectually biased, given to mild banter." He dressed like a dandy and was meticulous about his appearance and demeanour. Orenstein comments that, short in stature, light in frame, and bony in features, Ravel had the "appearance of a well-dressed jockey", whose large head seemed suitably matched to his formidable intellect. During the late 1890s and into the early years of the next century, Ravel was bearded in the fashion of the day; from his mid-thirties he was clean-shaven.

Question: What was the name of the person who was a marked man?
Answer: Ravel
In 1897 Ravel was readmitted to the Conservatoire, studying composition with Fauré, and taking private lessons in counterpoint with André Gedalge. Both these teachers, particularly Fauré, regarded him highly and were key influences on his development as a composer. As Ravel's course progressed, Fauré reported "a distinct gain in maturity ... engaging wealth of imagination". Ravel's standing at the Conservatoire was nevertheless undermined by the hostility of the Director, Théodore Dubois, who deplored the young man's musically and politically progressive outlook. Consequently, according to a fellow-student, Michel-Dimitri Calvocoressi, he was "a marked man, against whom all weapons were good". He wrote some substantial works while studying with Fauré, including the overture Shéhérazade and a violin sonata, but he won no prizes, and therefore was expelled again in 1900. As a former student he was allowed to attend Fauré's classes as a non-participating "auditeur" until finally abandoning the Conservatoire in 1903.In 1899 Ravel composed his first piece to become widely known, though it made little impact initially: Pavane pour une infante défunte ("Pavane for a dead princess"). It was originally a solo piano work, commissioned by the Princesse de Polignac. In 1897 he conducted the first performance of the Shéhérazade overture, which had a mixed reception, with boos mingling with applause from the audience, and unflattering reviews from the critics. One described the piece as "a jolting debut: a clumsy plagiarism of the Russian School" and called Ravel a "mediocrely gifted debutant ... who will perhaps become something if not someone in about ten years, if he works hard." Another critic, Pierre Lalo, thought that Ravel showed talent, but was too indebted to Debussy and should instead emulate Beethoven. Over the succeeding decades Lalo became Ravel's most implacable critic.From the start of his career, Ravel appeared calmly indifferent to blame or praise. Those who knew him well believed that this was no pose but wholly genuine. The only opinion of his music that he truly valued was his own, perfectionist and severely self-critical. At twenty years of age he was, in the words of the biographer Burnett James, "self-possessed, a little aloof, intellectually biased, given to mild banter." He dressed like a dandy and was meticulous about his appearance and demeanour. Orenstein comments that, short in stature, light in frame, and bony in features, Ravel had the "appearance of a well-dressed jockey", whose large head seemed suitably matched to his formidable intellect. During the late 1890s and into the early years of the next century, Ravel was bearded in the fashion of the day; from his mid-thirties he was clean-shaven.

Question: What was the English translation of the piece that was commissioned by the Princesse de Polignac?
Answer: Pavane for a dead princess
In 1897 Ravel was readmitted to the Conservatoire, studying composition with Fauré, and taking private lessons in counterpoint with André Gedalge. Both these teachers, particularly Fauré, regarded him highly and were key influences on his development as a composer. As Ravel's course progressed, Fauré reported "a distinct gain in maturity ... engaging wealth of imagination". Ravel's standing at the Conservatoire was nevertheless undermined by the hostility of the Director, Théodore Dubois, who deplored the young man's musically and politically progressive outlook. Consequently, according to a fellow-student, Michel-Dimitri Calvocoressi, he was "a marked man, against whom all weapons were good". He wrote some substantial works while studying with Fauré, including the overture Shéhérazade and a violin sonata, but he won no prizes, and therefore was expelled again in 1900. As a former student he was allowed to attend Fauré's classes as a non-participating "auditeur" until finally abandoning the Conservatoire in 1903.In 1899 Ravel composed his first piece to become widely known, though it made little impact initially: Pavane pour une infante défunte ("Pavane for a dead princess"). It was originally a solo piano work, commissioned by the Princesse de Polignac. In 1897 he conducted the first performance of the Shéhérazade overture, which had a mixed reception, with boos mingling with applause from the audience, and unflattering reviews from the critics. One described the piece as "a jolting debut: a clumsy plagiarism of the Russian School" and called Ravel a "mediocrely gifted debutant ... who will perhaps become something if not someone in about ten years, if he works hard." Another critic, Pierre Lalo, thought that Ravel showed talent, but was too indebted to Debussy and should instead emulate Beethoven. Over the succeeding decades Lalo became Ravel's most implacable critic.From the start of his career, Ravel appeared calmly indifferent to blame or praise. Those who knew him well believed that this was no pose but wholly genuine. The only opinion of his music that he truly valued was his own, perfectionist and severely self-critical. At twenty years of age he was, in the words of the biographer Burnett James, "self-possessed, a little aloof, intellectually biased, given to mild banter." He dressed like a dandy and was meticulous about his appearance and demeanour. Orenstein comments that, short in stature, light in frame, and bony in features, Ravel had the "appearance of a well-dressed jockey", whose large head seemed suitably matched to his formidable intellect. During the late 1890s and into the early years of the next century, Ravel was bearded in the fashion of the day; from his mid-thirties he was clean-shaven.

Question: What was the full name of the person who said Ravel was too indebted to Debussey?
Answer: Pierre Lalo
In 1897 Ravel was readmitted to the Conservatoire, studying composition with Fauré, and taking private lessons in counterpoint with André Gedalge. Both these teachers, particularly Fauré, regarded him highly and were key influences on his development as a composer. As Ravel's course progressed, Fauré reported "a distinct gain in maturity ... engaging wealth of imagination". Ravel's standing at the Conservatoire was nevertheless undermined by the hostility of the Director, Théodore Dubois, who deplored the young man's musically and politically progressive outlook. Consequently, according to a fellow-student, Michel-Dimitri Calvocoressi, he was "a marked man, against whom all weapons were good". He wrote some substantial works while studying with Fauré, including the overture Shéhérazade and a violin sonata, but he won no prizes, and therefore was expelled again in 1900. As a former student he was allowed to attend Fauré's classes as a non-participating "auditeur" until finally abandoning the Conservatoire in 1903.In 1899 Ravel composed his first piece to become widely known, though it made little impact initially: Pavane pour une infante défunte ("Pavane for a dead princess"). It was originally a solo piano work, commissioned by the Princesse de Polignac. In 1897 he conducted the first performance of the Shéhérazade overture, which had a mixed reception, with boos mingling with applause from the audience, and unflattering reviews from the critics. One described the piece as "a jolting debut: a clumsy plagiarism of the Russian School" and called Ravel a "mediocrely gifted debutant ... who will perhaps become something if not someone in about ten years, if he works hard." Another critic, Pierre Lalo, thought that Ravel showed talent, but was too indebted to Debussy and should instead emulate Beethoven. Over the succeeding decades Lalo became Ravel's most implacable critic.From the start of his career, Ravel appeared calmly indifferent to blame or praise. Those who knew him well believed that this was no pose but wholly genuine. The only opinion of his music that he truly valued was his own, perfectionist and severely self-critical. At twenty years of age he was, in the words of the biographer Burnett James, "self-possessed, a little aloof, intellectually biased, given to mild banter." He dressed like a dandy and was meticulous about his appearance and demeanour. Orenstein comments that, short in stature, light in frame, and bony in features, Ravel had the "appearance of a well-dressed jockey", whose large head seemed suitably matched to his formidable intellect. During the late 1890s and into the early years of the next century, Ravel was bearded in the fashion of the day; from his mid-thirties he was clean-shaven.

Question: What was the last name of the person who was regarded highly by his teachers?
Answer: Ravel
In 1897 Ravel was readmitted to the Conservatoire, studying composition with Fauré, and taking private lessons in counterpoint with André Gedalge. Both these teachers, particularly Fauré, regarded him highly and were key influences on his development as a composer. As Ravel's course progressed, Fauré reported "a distinct gain in maturity ... engaging wealth of imagination". Ravel's standing at the Conservatoire was nevertheless undermined by the hostility of the Director, Théodore Dubois, who deplored the young man's musically and politically progressive outlook. Consequently, according to a fellow-student, Michel-Dimitri Calvocoressi, he was "a marked man, against whom all weapons were good". He wrote some substantial works while studying with Fauré, including the overture Shéhérazade and a violin sonata, but he won no prizes, and therefore was expelled again in 1900. As a former student he was allowed to attend Fauré's classes as a non-participating "auditeur" until finally abandoning the Conservatoire in 1903.In 1899 Ravel composed his first piece to become widely known, though it made little impact initially: Pavane pour une infante défunte ("Pavane for a dead princess"). It was originally a solo piano work, commissioned by the Princesse de Polignac. In 1897 he conducted the first performance of the Shéhérazade overture, which had a mixed reception, with boos mingling with applause from the audience, and unflattering reviews from the critics. One described the piece as "a jolting debut: a clumsy plagiarism of the Russian School" and called Ravel a "mediocrely gifted debutant ... who will perhaps become something if not someone in about ten years, if he works hard." Another critic, Pierre Lalo, thought that Ravel showed talent, but was too indebted to Debussy and should instead emulate Beethoven. Over the succeeding decades Lalo became Ravel's most implacable critic.From the start of his career, Ravel appeared calmly indifferent to blame or praise. Those who knew him well believed that this was no pose but wholly genuine. The only opinion of his music that he truly valued was his own, perfectionist and severely self-critical. At twenty years of age he was, in the words of the biographer Burnett James, "self-possessed, a little aloof, intellectually biased, given to mild banter." He dressed like a dandy and was meticulous about his appearance and demeanour. Orenstein comments that, short in stature, light in frame, and bony in features, Ravel had the "appearance of a well-dressed jockey", whose large head seemed suitably matched to his formidable intellect. During the late 1890s and into the early years of the next century, Ravel was bearded in the fashion of the day; from his mid-thirties he was clean-shaven.

Question: What is the last name of the person whose outlook Dudois deplored?
Answer: Ravel
In 1897 Ravel was readmitted to the Conservatoire, studying composition with Fauré, and taking private lessons in counterpoint with André Gedalge. Both these teachers, particularly Fauré, regarded him highly and were key influences on his development as a composer. As Ravel's course progressed, Fauré reported "a distinct gain in maturity ... engaging wealth of imagination". Ravel's standing at the Conservatoire was nevertheless undermined by the hostility of the Director, Théodore Dubois, who deplored the young man's musically and politically progressive outlook. Consequently, according to a fellow-student, Michel-Dimitri Calvocoressi, he was "a marked man, against whom all weapons were good". He wrote some substantial works while studying with Fauré, including the overture Shéhérazade and a violin sonata, but he won no prizes, and therefore was expelled again in 1900. As a former student he was allowed to attend Fauré's classes as a non-participating "auditeur" until finally abandoning the Conservatoire in 1903.In 1899 Ravel composed his first piece to become widely known, though it made little impact initially: Pavane pour une infante défunte ("Pavane for a dead princess"). It was originally a solo piano work, commissioned by the Princesse de Polignac. In 1897 he conducted the first performance of the Shéhérazade overture, which had a mixed reception, with boos mingling with applause from the audience, and unflattering reviews from the critics. One described the piece as "a jolting debut: a clumsy plagiarism of the Russian School" and called Ravel a "mediocrely gifted debutant ... who will perhaps become something if not someone in about ten years, if he works hard." Another critic, Pierre Lalo, thought that Ravel showed talent, but was too indebted to Debussy and should instead emulate Beethoven. Over the succeeding decades Lalo became Ravel's most implacable critic.From the start of his career, Ravel appeared calmly indifferent to blame or praise. Those who knew him well believed that this was no pose but wholly genuine. The only opinion of his music that he truly valued was his own, perfectionist and severely self-critical. At twenty years of age he was, in the words of the biographer Burnett James, "self-possessed, a little aloof, intellectually biased, given to mild banter." He dressed like a dandy and was meticulous about his appearance and demeanour. Orenstein comments that, short in stature, light in frame, and bony in features, Ravel had the "appearance of a well-dressed jockey", whose large head seemed suitably matched to his formidable intellect. During the late 1890s and into the early years of the next century, Ravel was bearded in the fashion of the day; from his mid-thirties he was clean-shaven.

Question: What is the last name of the person who wrote some substantial works while studying with Fauré?
Answer: Ravel