niryuu/sni-each-converted huggingface dataset:
Passage: "The Nobodies" is a mournful, elegiac dirge constructed over a clavecin électrique and synthesized-drums. Its title is taken from a quote by Mark David Chapman. The verse "Today I am dirty and I want to be pretty, tomorrow I'll know that I'm just dirt" has an Iggy Pop-style vocal delivery, building to the "adrenaline-fueled" chorus. CMJ noted that the song could be interpreted as a tribute to the Columbine shooters, but its point was not to glorify violence; rather, it was to depict a society drenched in its children's blood. "The Death Song" is the turning point for Adam; he no longer cares. Manson described it as sarcastic and nihilistic: "it's like 'We have no future and we don't give a fuck'." Kerrang! described it as one of the album's heaviest songs. The bridge of "Lamb of God" paraphrases the chorus of "Across the Universe" (from 1970's Let It Be), whose lyric "Nothing's gonna change my world" inspired the song. Manson elaborated that: "Mark David Chapman came along and proved him very wrong. That was always something growing up that was very sad and tragic to me". The song uses the assassinations of JFK and John Lennon to criticize the media's veneration of death, and for turning tragedy into televised spectacle. It is keyboard-heavy and feature a variety of instrumentation ranging from a piano, a minipiano, a leslie speaker, and multiple synthesizers. Unusual recording techniques were employed for its rhythm and acoustic guitar parts. "Born Again" is the second song on the record to use the synth bass and is the only other song, apart from "The Nobodies", to use the drum machine. The song's guitar tracks were led by Ramirez and supplemented by contributions from John 5. "Burning Flag" is a pounding heavy-metal song reminiscent of American industrial metal band Ministry.
Output: What song uses the assassinations of JFK and John Lennon to criticize the media's veneration of death?
Passage: "The Nobodies" is a mournful, elegiac dirge constructed over a clavecin électrique and synthesized-drums. Its title is taken from a quote by Mark David Chapman. The verse "Today I am dirty and I want to be pretty, tomorrow I'll know that I'm just dirt" has an Iggy Pop-style vocal delivery, building to the "adrenaline-fueled" chorus. CMJ noted that the song could be interpreted as a tribute to the Columbine shooters, but its point was not to glorify violence; rather, it was to depict a society drenched in its children's blood. "The Death Song" is the turning point for Adam; he no longer cares. Manson described it as sarcastic and nihilistic: "it's like 'We have no future and we don't give a fuck'." Kerrang! described it as one of the album's heaviest songs. The bridge of "Lamb of God" paraphrases the chorus of "Across the Universe" (from 1970's Let It Be), whose lyric "Nothing's gonna change my world" inspired the song. Manson elaborated that: "Mark David Chapman came along and proved him very wrong. That was always something growing up that was very sad and tragic to me". The song uses the assassinations of JFK and John Lennon to criticize the media's veneration of death, and for turning tragedy into televised spectacle. It is keyboard-heavy and feature a variety of instrumentation ranging from a piano, a minipiano, a leslie speaker, and multiple synthesizers. Unusual recording techniques were employed for its rhythm and acoustic guitar parts. "Born Again" is the second song on the record to use the synth bass and is the only other song, apart from "The Nobodies", to use the drum machine. The song's guitar tracks were led by Ramirez and supplemented by contributions from John 5. "Burning Flag" is a pounding heavy-metal song reminiscent of American industrial metal band Ministry.
Output: What song is keyboard-heavy and feature a variety of instrumentation ranging from a piano, a minipiano, a leslie speaker, and multiple synthesizers?
Passage: "The Nobodies" is a mournful, elegiac dirge constructed over a clavecin électrique and synthesized-drums. Its title is taken from a quote by Mark David Chapman. The verse "Today I am dirty and I want to be pretty, tomorrow I'll know that I'm just dirt" has an Iggy Pop-style vocal delivery, building to the "adrenaline-fueled" chorus. CMJ noted that the song could be interpreted as a tribute to the Columbine shooters, but its point was not to glorify violence; rather, it was to depict a society drenched in its children's blood. "The Death Song" is the turning point for Adam; he no longer cares. Manson described it as sarcastic and nihilistic: "it's like 'We have no future and we don't give a fuck'." Kerrang! described it as one of the album's heaviest songs. The bridge of "Lamb of God" paraphrases the chorus of "Across the Universe" (from 1970's Let It Be), whose lyric "Nothing's gonna change my world" inspired the song. Manson elaborated that: "Mark David Chapman came along and proved him very wrong. That was always something growing up that was very sad and tragic to me". The song uses the assassinations of JFK and John Lennon to criticize the media's veneration of death, and for turning tragedy into televised spectacle. It is keyboard-heavy and feature a variety of instrumentation ranging from a piano, a minipiano, a leslie speaker, and multiple synthesizers. Unusual recording techniques were employed for its rhythm and acoustic guitar parts. "Born Again" is the second song on the record to use the synth bass and is the only other song, apart from "The Nobodies", to use the drum machine. The song's guitar tracks were led by Ramirez and supplemented by contributions from John 5. "Burning Flag" is a pounding heavy-metal song reminiscent of American industrial metal band Ministry.
Output: What is the name of the song that used guitar tracks led by Ramirez?
Passage: "The Nobodies" is a mournful, elegiac dirge constructed over a clavecin électrique and synthesized-drums. Its title is taken from a quote by Mark David Chapman. The verse "Today I am dirty and I want to be pretty, tomorrow I'll know that I'm just dirt" has an Iggy Pop-style vocal delivery, building to the "adrenaline-fueled" chorus. CMJ noted that the song could be interpreted as a tribute to the Columbine shooters, but its point was not to glorify violence; rather, it was to depict a society drenched in its children's blood. "The Death Song" is the turning point for Adam; he no longer cares. Manson described it as sarcastic and nihilistic: "it's like 'We have no future and we don't give a fuck'." Kerrang! described it as one of the album's heaviest songs. The bridge of "Lamb of God" paraphrases the chorus of "Across the Universe" (from 1970's Let It Be), whose lyric "Nothing's gonna change my world" inspired the song. Manson elaborated that: "Mark David Chapman came along and proved him very wrong. That was always something growing up that was very sad and tragic to me". The song uses the assassinations of JFK and John Lennon to criticize the media's veneration of death, and for turning tragedy into televised spectacle. It is keyboard-heavy and feature a variety of instrumentation ranging from a piano, a minipiano, a leslie speaker, and multiple synthesizers. Unusual recording techniques were employed for its rhythm and acoustic guitar parts. "Born Again" is the second song on the record to use the synth bass and is the only other song, apart from "The Nobodies", to use the drum machine. The song's guitar tracks were led by Ramirez and supplemented by contributions from John 5. "Burning Flag" is a pounding heavy-metal song reminiscent of American industrial metal band Ministry.
Output: What is the name of the song that was supplemented by contributions from John 5?
Passage: In 17th-century Spain, painters rarely enjoyed high social status. Painting was regarded as a craft, not an art such as poetry or music. Nonetheless, Velázquez worked his way up through the ranks of the court of Philip IV, and in February 1651 was appointed palace chamberlain (aposentador mayor del palacio). The post brought him status and material reward, but its duties made heavy demands on his time. During the remaining eight years of his life, he painted only a few works, mostly portraits of the royal family. When he painted Las Meninas, he had been with the royal household for 33 years.
Philip IV's first wife, Elizabeth of France, died in 1644; and their only son, Balthasar Charles, died two years later. Lacking an heir, Philip married Mariana of Austria in 1649, and Margaret Theresa (1651–1673) was their first child, and their only one at the time of the painting. Subsequently, she had a short-lived brother Philip Prospero (1657–1661), and then Charles (1661–1700) arrived, who succeeded to the throne as Charles II at the age of three. Velázquez painted portraits of Mariana and her children, and although Philip himself resisted being portrayed in his old age he did allow Velázquez to include him in Las Meninas. In the early 1650s he gave Velázquez the Pieza Principal ("main room") of the late Balthasar Charles's living quarters, by then serving as the palace museum, to use as his studio. It is here that Las Meninas is set. Philip had his own chair in the studio and would often sit and watch Velázquez at work. Although constrained by rigid etiquette, the art-loving king seems to have had a close relationship with the painter. After Velázquez's death, Philip wrote "I am crushed" in the margin of a memorandum on the choice of his successor.During the 1640s and 1650s, Velázquez served as both court painter and curator of Philip IV's expanding collection of European art. He seems to have been given an unusual degree of freedom in the role. He supervised the decoration and interior design of the rooms holding the most valued paintings, adding mirrors, statues and tapestries. He was also responsible for the sourcing, attribution, hanging and inventory of many of the Spanish king's paintings. By the early 1650s, Velázquez was widely respected in Spain as a connoisseur. Much of the collection of the Prado today—including works by Titian, Raphael, and Rubens—were acquired and assembled under Velázquez's curatorship.
Output: What is the name of Philip IV's final child?
Passage: In 17th-century Spain, painters rarely enjoyed high social status. Painting was regarded as a craft, not an art such as poetry or music. Nonetheless, Velázquez worked his way up through the ranks of the court of Philip IV, and in February 1651 was appointed palace chamberlain (aposentador mayor del palacio). The post brought him status and material reward, but its duties made heavy demands on his time. During the remaining eight years of his life, he painted only a few works, mostly portraits of the royal family. When he painted Las Meninas, he had been with the royal household for 33 years.
Philip IV's first wife, Elizabeth of France, died in 1644; and their only son, Balthasar Charles, died two years later. Lacking an heir, Philip married Mariana of Austria in 1649, and Margaret Theresa (1651–1673) was their first child, and their only one at the time of the painting. Subsequently, she had a short-lived brother Philip Prospero (1657–1661), and then Charles (1661–1700) arrived, who succeeded to the throne as Charles II at the age of three. Velázquez painted portraits of Mariana and her children, and although Philip himself resisted being portrayed in his old age he did allow Velázquez to include him in Las Meninas. In the early 1650s he gave Velázquez the Pieza Principal ("main room") of the late Balthasar Charles's living quarters, by then serving as the palace museum, to use as his studio. It is here that Las Meninas is set. Philip had his own chair in the studio and would often sit and watch Velázquez at work. Although constrained by rigid etiquette, the art-loving king seems to have had a close relationship with the painter. After Velázquez's death, Philip wrote "I am crushed" in the margin of a memorandum on the choice of his successor.During the 1640s and 1650s, Velázquez served as both court painter and curator of Philip IV's expanding collection of European art. He seems to have been given an unusual degree of freedom in the role. He supervised the decoration and interior design of the rooms holding the most valued paintings, adding mirrors, statues and tapestries. He was also responsible for the sourcing, attribution, hanging and inventory of many of the Spanish king's paintings. By the early 1650s, Velázquez was widely respected in Spain as a connoisseur. Much of the collection of the Prado today—including works by Titian, Raphael, and Rubens—were acquired and assembled under Velázquez's curatorship.
Output: What was the name of the king after Philip IV?
Passage: In 17th-century Spain, painters rarely enjoyed high social status. Painting was regarded as a craft, not an art such as poetry or music. Nonetheless, Velázquez worked his way up through the ranks of the court of Philip IV, and in February 1651 was appointed palace chamberlain (aposentador mayor del palacio). The post brought him status and material reward, but its duties made heavy demands on his time. During the remaining eight years of his life, he painted only a few works, mostly portraits of the royal family. When he painted Las Meninas, he had been with the royal household for 33 years.
Philip IV's first wife, Elizabeth of France, died in 1644; and their only son, Balthasar Charles, died two years later. Lacking an heir, Philip married Mariana of Austria in 1649, and Margaret Theresa (1651–1673) was their first child, and their only one at the time of the painting. Subsequently, she had a short-lived brother Philip Prospero (1657–1661), and then Charles (1661–1700) arrived, who succeeded to the throne as Charles II at the age of three. Velázquez painted portraits of Mariana and her children, and although Philip himself resisted being portrayed in his old age he did allow Velázquez to include him in Las Meninas. In the early 1650s he gave Velázquez the Pieza Principal ("main room") of the late Balthasar Charles's living quarters, by then serving as the palace museum, to use as his studio. It is here that Las Meninas is set. Philip had his own chair in the studio and would often sit and watch Velázquez at work. Although constrained by rigid etiquette, the art-loving king seems to have had a close relationship with the painter. After Velázquez's death, Philip wrote "I am crushed" in the margin of a memorandum on the choice of his successor.During the 1640s and 1650s, Velázquez served as both court painter and curator of Philip IV's expanding collection of European art. He seems to have been given an unusual degree of freedom in the role. He supervised the decoration and interior design of the rooms holding the most valued paintings, adding mirrors, statues and tapestries. He was also responsible for the sourcing, attribution, hanging and inventory of many of the Spanish king's paintings. By the early 1650s, Velázquez was widely respected in Spain as a connoisseur. Much of the collection of the Prado today—including works by Titian, Raphael, and Rubens—were acquired and assembled under Velázquez's curatorship.
Output: What is the first name of the person that took the throne after Philip IV?
Passage: In 17th-century Spain, painters rarely enjoyed high social status. Painting was regarded as a craft, not an art such as poetry or music. Nonetheless, Velázquez worked his way up through the ranks of the court of Philip IV, and in February 1651 was appointed palace chamberlain (aposentador mayor del palacio). The post brought him status and material reward, but its duties made heavy demands on his time. During the remaining eight years of his life, he painted only a few works, mostly portraits of the royal family. When he painted Las Meninas, he had been with the royal household for 33 years.
Philip IV's first wife, Elizabeth of France, died in 1644; and their only son, Balthasar Charles, died two years later. Lacking an heir, Philip married Mariana of Austria in 1649, and Margaret Theresa (1651–1673) was their first child, and their only one at the time of the painting. Subsequently, she had a short-lived brother Philip Prospero (1657–1661), and then Charles (1661–1700) arrived, who succeeded to the throne as Charles II at the age of three. Velázquez painted portraits of Mariana and her children, and although Philip himself resisted being portrayed in his old age he did allow Velázquez to include him in Las Meninas. In the early 1650s he gave Velázquez the Pieza Principal ("main room") of the late Balthasar Charles's living quarters, by then serving as the palace museum, to use as his studio. It is here that Las Meninas is set. Philip had his own chair in the studio and would often sit and watch Velázquez at work. Although constrained by rigid etiquette, the art-loving king seems to have had a close relationship with the painter. After Velázquez's death, Philip wrote "I am crushed" in the margin of a memorandum on the choice of his successor.During the 1640s and 1650s, Velázquez served as both court painter and curator of Philip IV's expanding collection of European art. He seems to have been given an unusual degree of freedom in the role. He supervised the decoration and interior design of the rooms holding the most valued paintings, adding mirrors, statues and tapestries. He was also responsible for the sourcing, attribution, hanging and inventory of many of the Spanish king's paintings. By the early 1650s, Velázquez was widely respected in Spain as a connoisseur. Much of the collection of the Prado today—including works by Titian, Raphael, and Rubens—were acquired and assembled under Velázquez's curatorship.
Output: What is the name of the king painted in Las Meninas?
Passage: In 17th-century Spain, painters rarely enjoyed high social status. Painting was regarded as a craft, not an art such as poetry or music. Nonetheless, Velázquez worked his way up through the ranks of the court of Philip IV, and in February 1651 was appointed palace chamberlain (aposentador mayor del palacio). The post brought him status and material reward, but its duties made heavy demands on his time. During the remaining eight years of his life, he painted only a few works, mostly portraits of the royal family. When he painted Las Meninas, he had been with the royal household for 33 years.
Philip IV's first wife, Elizabeth of France, died in 1644; and their only son, Balthasar Charles, died two years later. Lacking an heir, Philip married Mariana of Austria in 1649, and Margaret Theresa (1651–1673) was their first child, and their only one at the time of the painting. Subsequently, she had a short-lived brother Philip Prospero (1657–1661), and then Charles (1661–1700) arrived, who succeeded to the throne as Charles II at the age of three. Velázquez painted portraits of Mariana and her children, and although Philip himself resisted being portrayed in his old age he did allow Velázquez to include him in Las Meninas. In the early 1650s he gave Velázquez the Pieza Principal ("main room") of the late Balthasar Charles's living quarters, by then serving as the palace museum, to use as his studio. It is here that Las Meninas is set. Philip had his own chair in the studio and would often sit and watch Velázquez at work. Although constrained by rigid etiquette, the art-loving king seems to have had a close relationship with the painter. After Velázquez's death, Philip wrote "I am crushed" in the margin of a memorandum on the choice of his successor.During the 1640s and 1650s, Velázquez served as both court painter and curator of Philip IV's expanding collection of European art. He seems to have been given an unusual degree of freedom in the role. He supervised the decoration and interior design of the rooms holding the most valued paintings, adding mirrors, statues and tapestries. He was also responsible for the sourcing, attribution, hanging and inventory of many of the Spanish king's paintings. By the early 1650s, Velázquez was widely respected in Spain as a connoisseur. Much of the collection of the Prado today—including works by Titian, Raphael, and Rubens—were acquired and assembled under Velázquez's curatorship.
Output: What is the full name of the person that gave Velázquez the Pieza Principal ("main room") of the late Balthasar Charles's living quarters?
Passage: Lawrence Morton, in a study of the origins of The Rite, records that in 1907–08 Stravinsky set to music two poems from Sergey Gorodetsky's collection Yar. Another poem in the anthology, which Stravinsky did not set but is likely to have read, is "Yarila" which, Morton observes, contains many of the basic elements from which The Rite of Spring developed, including pagan rites, sage elders, and the propitiatory sacrifice of a young maiden: "The likeness is too close to be coincidental". Stravinsky himself gave contradictory accounts of the genesis of The Rite. In a 1920 article he stressed that the musical ideas had come first, that the pagan setting had been suggested by the music rather than the other way round. However, in his 1936 autobiography he described the origin of the work thus: "One day [in 1910], when I was finishing the last pages of L'Oiseau de Feu in St Petersburg, I had a fleeting vision ... I saw in my imagination a solemn pagan rite: sage elders, seated in a circle, watching a young girl dance herself to death. They were sacrificing her to propitiate the god of Spring. Such was the theme of the Sacre du Printemps".By May 1910 Stravinsky was discussing his idea with Nicholas Roerich, the foremost Russian expert on folk art and ancient rituals. Roerich had a reputation as an artist and mystic, and had provided the stage designs for Diaghilev's 1909 production of the Polovtsian Dances. The pair quickly agreed on a working title, "The Great Sacrifice" (Russian: Velikaia zhertva); Diaghilev gave his blessing to the work, although the collaboration was put on hold for a year while Stravinsky was occupied with his second major commission for Diaghilev, the ballet Petrushka.In July 1911 Stravinsky visited Talashkino, near Smolensk, where Roerich was staying with the Princess Maria Tenisheva, a noted patron of the arts and a sponsor of Diaghilev's magazine World of Art. Here, over several days, Stravinsky and Roerich finalised the structure of the ballet. Thomas F. Kelly, in his history of the Rite premiere, suggests that the two-part pagan scenario that emerged was primarily devised by Roerich. Stravinsky later explained to Nikolai Findeyzen, the editor of the Russian Musical Gazette, that the first part of the work would be called "The Kiss of the Earth", and would consist of games and ritual dances interrupted by a procession of sages, culminating in a frenzied dance as the people embraced the spring. Part Two, "The Sacrifice", would have a darker aspect; secret night games of maidens, leading to the choice of one for sacrifice and her eventual dance to the death before the sages. The original working title was changed to "Holy Spring" (Russian:  Vesna sviashchennaia), but the work became generally known by the French translation Le Sacre du printemps, or its English equivalent The Rite of Spring, with the subtitle "Pictures of Pagan Russia".
Output: What is the first name of the person who said "The likeness is too close to be coincidental?"?
Passage: Lawrence Morton, in a study of the origins of The Rite, records that in 1907–08 Stravinsky set to music two poems from Sergey Gorodetsky's collection Yar. Another poem in the anthology, which Stravinsky did not set but is likely to have read, is "Yarila" which, Morton observes, contains many of the basic elements from which The Rite of Spring developed, including pagan rites, sage elders, and the propitiatory sacrifice of a young maiden: "The likeness is too close to be coincidental". Stravinsky himself gave contradictory accounts of the genesis of The Rite. In a 1920 article he stressed that the musical ideas had come first, that the pagan setting had been suggested by the music rather than the other way round. However, in his 1936 autobiography he described the origin of the work thus: "One day [in 1910], when I was finishing the last pages of L'Oiseau de Feu in St Petersburg, I had a fleeting vision ... I saw in my imagination a solemn pagan rite: sage elders, seated in a circle, watching a young girl dance herself to death. They were sacrificing her to propitiate the god of Spring. Such was the theme of the Sacre du Printemps".By May 1910 Stravinsky was discussing his idea with Nicholas Roerich, the foremost Russian expert on folk art and ancient rituals. Roerich had a reputation as an artist and mystic, and had provided the stage designs for Diaghilev's 1909 production of the Polovtsian Dances. The pair quickly agreed on a working title, "The Great Sacrifice" (Russian: Velikaia zhertva); Diaghilev gave his blessing to the work, although the collaboration was put on hold for a year while Stravinsky was occupied with his second major commission for Diaghilev, the ballet Petrushka.In July 1911 Stravinsky visited Talashkino, near Smolensk, where Roerich was staying with the Princess Maria Tenisheva, a noted patron of the arts and a sponsor of Diaghilev's magazine World of Art. Here, over several days, Stravinsky and Roerich finalised the structure of the ballet. Thomas F. Kelly, in his history of the Rite premiere, suggests that the two-part pagan scenario that emerged was primarily devised by Roerich. Stravinsky later explained to Nikolai Findeyzen, the editor of the Russian Musical Gazette, that the first part of the work would be called "The Kiss of the Earth", and would consist of games and ritual dances interrupted by a procession of sages, culminating in a frenzied dance as the people embraced the spring. Part Two, "The Sacrifice", would have a darker aspect; secret night games of maidens, leading to the choice of one for sacrifice and her eventual dance to the death before the sages. The original working title was changed to "Holy Spring" (Russian:  Vesna sviashchennaia), but the work became generally known by the French translation Le Sacre du printemps, or its English equivalent The Rite of Spring, with the subtitle "Pictures of Pagan Russia".
Output: What is the last name of the person who stressed that the musical ideas had come first, that the pagan setting had been suggested by the music rather than the other way round?
Passage: Lawrence Morton, in a study of the origins of The Rite, records that in 1907–08 Stravinsky set to music two poems from Sergey Gorodetsky's collection Yar. Another poem in the anthology, which Stravinsky did not set but is likely to have read, is "Yarila" which, Morton observes, contains many of the basic elements from which The Rite of Spring developed, including pagan rites, sage elders, and the propitiatory sacrifice of a young maiden: "The likeness is too close to be coincidental". Stravinsky himself gave contradictory accounts of the genesis of The Rite. In a 1920 article he stressed that the musical ideas had come first, that the pagan setting had been suggested by the music rather than the other way round. However, in his 1936 autobiography he described the origin of the work thus: "One day [in 1910], when I was finishing the last pages of L'Oiseau de Feu in St Petersburg, I had a fleeting vision ... I saw in my imagination a solemn pagan rite: sage elders, seated in a circle, watching a young girl dance herself to death. They were sacrificing her to propitiate the god of Spring. Such was the theme of the Sacre du Printemps".By May 1910 Stravinsky was discussing his idea with Nicholas Roerich, the foremost Russian expert on folk art and ancient rituals. Roerich had a reputation as an artist and mystic, and had provided the stage designs for Diaghilev's 1909 production of the Polovtsian Dances. The pair quickly agreed on a working title, "The Great Sacrifice" (Russian: Velikaia zhertva); Diaghilev gave his blessing to the work, although the collaboration was put on hold for a year while Stravinsky was occupied with his second major commission for Diaghilev, the ballet Petrushka.In July 1911 Stravinsky visited Talashkino, near Smolensk, where Roerich was staying with the Princess Maria Tenisheva, a noted patron of the arts and a sponsor of Diaghilev's magazine World of Art. Here, over several days, Stravinsky and Roerich finalised the structure of the ballet. Thomas F. Kelly, in his history of the Rite premiere, suggests that the two-part pagan scenario that emerged was primarily devised by Roerich. Stravinsky later explained to Nikolai Findeyzen, the editor of the Russian Musical Gazette, that the first part of the work would be called "The Kiss of the Earth", and would consist of games and ritual dances interrupted by a procession of sages, culminating in a frenzied dance as the people embraced the spring. Part Two, "The Sacrifice", would have a darker aspect; secret night games of maidens, leading to the choice of one for sacrifice and her eventual dance to the death before the sages. The original working title was changed to "Holy Spring" (Russian:  Vesna sviashchennaia), but the work became generally known by the French translation Le Sacre du printemps, or its English equivalent The Rite of Spring, with the subtitle "Pictures of Pagan Russia".
Output: What is the last name of the person who wrote an autobiography in 1936?
Passage: Lawrence Morton, in a study of the origins of The Rite, records that in 1907–08 Stravinsky set to music two poems from Sergey Gorodetsky's collection Yar. Another poem in the anthology, which Stravinsky did not set but is likely to have read, is "Yarila" which, Morton observes, contains many of the basic elements from which The Rite of Spring developed, including pagan rites, sage elders, and the propitiatory sacrifice of a young maiden: "The likeness is too close to be coincidental". Stravinsky himself gave contradictory accounts of the genesis of The Rite. In a 1920 article he stressed that the musical ideas had come first, that the pagan setting had been suggested by the music rather than the other way round. However, in his 1936 autobiography he described the origin of the work thus: "One day [in 1910], when I was finishing the last pages of L'Oiseau de Feu in St Petersburg, I had a fleeting vision ... I saw in my imagination a solemn pagan rite: sage elders, seated in a circle, watching a young girl dance herself to death. They were sacrificing her to propitiate the god of Spring. Such was the theme of the Sacre du Printemps".By May 1910 Stravinsky was discussing his idea with Nicholas Roerich, the foremost Russian expert on folk art and ancient rituals. Roerich had a reputation as an artist and mystic, and had provided the stage designs for Diaghilev's 1909 production of the Polovtsian Dances. The pair quickly agreed on a working title, "The Great Sacrifice" (Russian: Velikaia zhertva); Diaghilev gave his blessing to the work, although the collaboration was put on hold for a year while Stravinsky was occupied with his second major commission for Diaghilev, the ballet Petrushka.In July 1911 Stravinsky visited Talashkino, near Smolensk, where Roerich was staying with the Princess Maria Tenisheva, a noted patron of the arts and a sponsor of Diaghilev's magazine World of Art. Here, over several days, Stravinsky and Roerich finalised the structure of the ballet. Thomas F. Kelly, in his history of the Rite premiere, suggests that the two-part pagan scenario that emerged was primarily devised by Roerich. Stravinsky later explained to Nikolai Findeyzen, the editor of the Russian Musical Gazette, that the first part of the work would be called "The Kiss of the Earth", and would consist of games and ritual dances interrupted by a procession of sages, culminating in a frenzied dance as the people embraced the spring. Part Two, "The Sacrifice", would have a darker aspect; secret night games of maidens, leading to the choice of one for sacrifice and her eventual dance to the death before the sages. The original working title was changed to "Holy Spring" (Russian:  Vesna sviashchennaia), but the work became generally known by the French translation Le Sacre du printemps, or its English equivalent The Rite of Spring, with the subtitle "Pictures of Pagan Russia".
Output: What is the first name of the person who had a reputation as an artist and mystic?
Passage: Lawrence Morton, in a study of the origins of The Rite, records that in 1907–08 Stravinsky set to music two poems from Sergey Gorodetsky's collection Yar. Another poem in the anthology, which Stravinsky did not set but is likely to have read, is "Yarila" which, Morton observes, contains many of the basic elements from which The Rite of Spring developed, including pagan rites, sage elders, and the propitiatory sacrifice of a young maiden: "The likeness is too close to be coincidental". Stravinsky himself gave contradictory accounts of the genesis of The Rite. In a 1920 article he stressed that the musical ideas had come first, that the pagan setting had been suggested by the music rather than the other way round. However, in his 1936 autobiography he described the origin of the work thus: "One day [in 1910], when I was finishing the last pages of L'Oiseau de Feu in St Petersburg, I had a fleeting vision ... I saw in my imagination a solemn pagan rite: sage elders, seated in a circle, watching a young girl dance herself to death. They were sacrificing her to propitiate the god of Spring. Such was the theme of the Sacre du Printemps".By May 1910 Stravinsky was discussing his idea with Nicholas Roerich, the foremost Russian expert on folk art and ancient rituals. Roerich had a reputation as an artist and mystic, and had provided the stage designs for Diaghilev's 1909 production of the Polovtsian Dances. The pair quickly agreed on a working title, "The Great Sacrifice" (Russian: Velikaia zhertva); Diaghilev gave his blessing to the work, although the collaboration was put on hold for a year while Stravinsky was occupied with his second major commission for Diaghilev, the ballet Petrushka.In July 1911 Stravinsky visited Talashkino, near Smolensk, where Roerich was staying with the Princess Maria Tenisheva, a noted patron of the arts and a sponsor of Diaghilev's magazine World of Art. Here, over several days, Stravinsky and Roerich finalised the structure of the ballet. Thomas F. Kelly, in his history of the Rite premiere, suggests that the two-part pagan scenario that emerged was primarily devised by Roerich. Stravinsky later explained to Nikolai Findeyzen, the editor of the Russian Musical Gazette, that the first part of the work would be called "The Kiss of the Earth", and would consist of games and ritual dances interrupted by a procession of sages, culminating in a frenzied dance as the people embraced the spring. Part Two, "The Sacrifice", would have a darker aspect; secret night games of maidens, leading to the choice of one for sacrifice and her eventual dance to the death before the sages. The original working title was changed to "Holy Spring" (Russian:  Vesna sviashchennaia), but the work became generally known by the French translation Le Sacre du printemps, or its English equivalent The Rite of Spring, with the subtitle "Pictures of Pagan Russia".
Output: What is the full name of the person that wrote a poem that features pagan rites, sage elders, and the propitiatory sacrifice of a young maiden?
Passage: Lawrence Morton, in a study of the origins of The Rite, records that in 1907–08 Stravinsky set to music two poems from Sergey Gorodetsky's collection Yar. Another poem in the anthology, which Stravinsky did not set but is likely to have read, is "Yarila" which, Morton observes, contains many of the basic elements from which The Rite of Spring developed, including pagan rites, sage elders, and the propitiatory sacrifice of a young maiden: "The likeness is too close to be coincidental". Stravinsky himself gave contradictory accounts of the genesis of The Rite. In a 1920 article he stressed that the musical ideas had come first, that the pagan setting had been suggested by the music rather than the other way round. However, in his 1936 autobiography he described the origin of the work thus: "One day [in 1910], when I was finishing the last pages of L'Oiseau de Feu in St Petersburg, I had a fleeting vision ... I saw in my imagination a solemn pagan rite: sage elders, seated in a circle, watching a young girl dance herself to death. They were sacrificing her to propitiate the god of Spring. Such was the theme of the Sacre du Printemps".By May 1910 Stravinsky was discussing his idea with Nicholas Roerich, the foremost Russian expert on folk art and ancient rituals. Roerich had a reputation as an artist and mystic, and had provided the stage designs for Diaghilev's 1909 production of the Polovtsian Dances. The pair quickly agreed on a working title, "The Great Sacrifice" (Russian: Velikaia zhertva); Diaghilev gave his blessing to the work, although the collaboration was put on hold for a year while Stravinsky was occupied with his second major commission for Diaghilev, the ballet Petrushka.In July 1911 Stravinsky visited Talashkino, near Smolensk, where Roerich was staying with the Princess Maria Tenisheva, a noted patron of the arts and a sponsor of Diaghilev's magazine World of Art. Here, over several days, Stravinsky and Roerich finalised the structure of the ballet. Thomas F. Kelly, in his history of the Rite premiere, suggests that the two-part pagan scenario that emerged was primarily devised by Roerich. Stravinsky later explained to Nikolai Findeyzen, the editor of the Russian Musical Gazette, that the first part of the work would be called "The Kiss of the Earth", and would consist of games and ritual dances interrupted by a procession of sages, culminating in a frenzied dance as the people embraced the spring. Part Two, "The Sacrifice", would have a darker aspect; secret night games of maidens, leading to the choice of one for sacrifice and her eventual dance to the death before the sages. The original working title was changed to "Holy Spring" (Russian:  Vesna sviashchennaia), but the work became generally known by the French translation Le Sacre du printemps, or its English equivalent The Rite of Spring, with the subtitle "Pictures of Pagan Russia".
Output: What is the name of the person that composed The Rite of Spring?
Passage: Lawrence Morton, in a study of the origins of The Rite, records that in 1907–08 Stravinsky set to music two poems from Sergey Gorodetsky's collection Yar. Another poem in the anthology, which Stravinsky did not set but is likely to have read, is "Yarila" which, Morton observes, contains many of the basic elements from which The Rite of Spring developed, including pagan rites, sage elders, and the propitiatory sacrifice of a young maiden: "The likeness is too close to be coincidental". Stravinsky himself gave contradictory accounts of the genesis of The Rite. In a 1920 article he stressed that the musical ideas had come first, that the pagan setting had been suggested by the music rather than the other way round. However, in his 1936 autobiography he described the origin of the work thus: "One day [in 1910], when I was finishing the last pages of L'Oiseau de Feu in St Petersburg, I had a fleeting vision ... I saw in my imagination a solemn pagan rite: sage elders, seated in a circle, watching a young girl dance herself to death. They were sacrificing her to propitiate the god of Spring. Such was the theme of the Sacre du Printemps".By May 1910 Stravinsky was discussing his idea with Nicholas Roerich, the foremost Russian expert on folk art and ancient rituals. Roerich had a reputation as an artist and mystic, and had provided the stage designs for Diaghilev's 1909 production of the Polovtsian Dances. The pair quickly agreed on a working title, "The Great Sacrifice" (Russian: Velikaia zhertva); Diaghilev gave his blessing to the work, although the collaboration was put on hold for a year while Stravinsky was occupied with his second major commission for Diaghilev, the ballet Petrushka.In July 1911 Stravinsky visited Talashkino, near Smolensk, where Roerich was staying with the Princess Maria Tenisheva, a noted patron of the arts and a sponsor of Diaghilev's magazine World of Art. Here, over several days, Stravinsky and Roerich finalised the structure of the ballet. Thomas F. Kelly, in his history of the Rite premiere, suggests that the two-part pagan scenario that emerged was primarily devised by Roerich. Stravinsky later explained to Nikolai Findeyzen, the editor of the Russian Musical Gazette, that the first part of the work would be called "The Kiss of the Earth", and would consist of games and ritual dances interrupted by a procession of sages, culminating in a frenzied dance as the people embraced the spring. Part Two, "The Sacrifice", would have a darker aspect; secret night games of maidens, leading to the choice of one for sacrifice and her eventual dance to the death before the sages. The original working title was changed to "Holy Spring" (Russian:  Vesna sviashchennaia), but the work became generally known by the French translation Le Sacre du printemps, or its English equivalent The Rite of Spring, with the subtitle "Pictures of Pagan Russia".
Output: What is the name of the person that finished  L'Oiseau de Feu in St Petersburg?
Passage: Lawrence Morton, in a study of the origins of The Rite, records that in 1907–08 Stravinsky set to music two poems from Sergey Gorodetsky's collection Yar. Another poem in the anthology, which Stravinsky did not set but is likely to have read, is "Yarila" which, Morton observes, contains many of the basic elements from which The Rite of Spring developed, including pagan rites, sage elders, and the propitiatory sacrifice of a young maiden: "The likeness is too close to be coincidental". Stravinsky himself gave contradictory accounts of the genesis of The Rite. In a 1920 article he stressed that the musical ideas had come first, that the pagan setting had been suggested by the music rather than the other way round. However, in his 1936 autobiography he described the origin of the work thus: "One day [in 1910], when I was finishing the last pages of L'Oiseau de Feu in St Petersburg, I had a fleeting vision ... I saw in my imagination a solemn pagan rite: sage elders, seated in a circle, watching a young girl dance herself to death. They were sacrificing her to propitiate the god of Spring. Such was the theme of the Sacre du Printemps".By May 1910 Stravinsky was discussing his idea with Nicholas Roerich, the foremost Russian expert on folk art and ancient rituals. Roerich had a reputation as an artist and mystic, and had provided the stage designs for Diaghilev's 1909 production of the Polovtsian Dances. The pair quickly agreed on a working title, "The Great Sacrifice" (Russian: Velikaia zhertva); Diaghilev gave his blessing to the work, although the collaboration was put on hold for a year while Stravinsky was occupied with his second major commission for Diaghilev, the ballet Petrushka.In July 1911 Stravinsky visited Talashkino, near Smolensk, where Roerich was staying with the Princess Maria Tenisheva, a noted patron of the arts and a sponsor of Diaghilev's magazine World of Art. Here, over several days, Stravinsky and Roerich finalised the structure of the ballet. Thomas F. Kelly, in his history of the Rite premiere, suggests that the two-part pagan scenario that emerged was primarily devised by Roerich. Stravinsky later explained to Nikolai Findeyzen, the editor of the Russian Musical Gazette, that the first part of the work would be called "The Kiss of the Earth", and would consist of games and ritual dances interrupted by a procession of sages, culminating in a frenzied dance as the people embraced the spring. Part Two, "The Sacrifice", would have a darker aspect; secret night games of maidens, leading to the choice of one for sacrifice and her eventual dance to the death before the sages. The original working title was changed to "Holy Spring" (Russian:  Vesna sviashchennaia), but the work became generally known by the French translation Le Sacre du printemps, or its English equivalent The Rite of Spring, with the subtitle "Pictures of Pagan Russia".
Output: What is the name of the person that had a 1936 autobiography?
Passage: Lawrence Morton, in a study of the origins of The Rite, records that in 1907–08 Stravinsky set to music two poems from Sergey Gorodetsky's collection Yar. Another poem in the anthology, which Stravinsky did not set but is likely to have read, is "Yarila" which, Morton observes, contains many of the basic elements from which The Rite of Spring developed, including pagan rites, sage elders, and the propitiatory sacrifice of a young maiden: "The likeness is too close to be coincidental". Stravinsky himself gave contradictory accounts of the genesis of The Rite. In a 1920 article he stressed that the musical ideas had come first, that the pagan setting had been suggested by the music rather than the other way round. However, in his 1936 autobiography he described the origin of the work thus: "One day [in 1910], when I was finishing the last pages of L'Oiseau de Feu in St Petersburg, I had a fleeting vision ... I saw in my imagination a solemn pagan rite: sage elders, seated in a circle, watching a young girl dance herself to death. They were sacrificing her to propitiate the god of Spring. Such was the theme of the Sacre du Printemps".By May 1910 Stravinsky was discussing his idea with Nicholas Roerich, the foremost Russian expert on folk art and ancient rituals. Roerich had a reputation as an artist and mystic, and had provided the stage designs for Diaghilev's 1909 production of the Polovtsian Dances. The pair quickly agreed on a working title, "The Great Sacrifice" (Russian: Velikaia zhertva); Diaghilev gave his blessing to the work, although the collaboration was put on hold for a year while Stravinsky was occupied with his second major commission for Diaghilev, the ballet Petrushka.In July 1911 Stravinsky visited Talashkino, near Smolensk, where Roerich was staying with the Princess Maria Tenisheva, a noted patron of the arts and a sponsor of Diaghilev's magazine World of Art. Here, over several days, Stravinsky and Roerich finalised the structure of the ballet. Thomas F. Kelly, in his history of the Rite premiere, suggests that the two-part pagan scenario that emerged was primarily devised by Roerich. Stravinsky later explained to Nikolai Findeyzen, the editor of the Russian Musical Gazette, that the first part of the work would be called "The Kiss of the Earth", and would consist of games and ritual dances interrupted by a procession of sages, culminating in a frenzied dance as the people embraced the spring. Part Two, "The Sacrifice", would have a darker aspect; secret night games of maidens, leading to the choice of one for sacrifice and her eventual dance to the death before the sages. The original working title was changed to "Holy Spring" (Russian:  Vesna sviashchennaia), but the work became generally known by the French translation Le Sacre du printemps, or its English equivalent The Rite of Spring, with the subtitle "Pictures of Pagan Russia".
Output: What is the full name of the person that worked with Stravinsky on the "The Great Sacrifice?