niryuu/sni-each-converted huggingface dataset:
Passage: Solti recorded throughout his career for the Decca Record Company. He made more than 250 recordings, including 45 complete opera sets. During the 1950s and 1960s Decca had an alliance with RCA Victor, and some of Solti's recordings were first issued on the RCA label.Solti was one of the first conductors who came to international fame as a recording artist before being widely known in the concert hall or opera house. Gordon Parry, the Decca engineer who worked with Solti and Culshaw on the Ring recordings, observed, "Many people have said 'Oh well, of course John Culshaw made Solti.' This is not true. He gave him the opportunity to show what he could do."Solti's first recordings were as a piano accompanist, playing at sessions in Zurich for the violinist Georg Kulenkampff in 1947. Decca's senior producer, Victor Olof did not much admire Solti as a conductor (nor did Walter Legge, Olof's opposite number at EMI's Columbia Records), but Olof's younger colleague and successor, Culshaw, held Solti in high regard. As Culshaw, and later James Walker, produced his recordings, Solti's career as a recording artist flourished from the mid-1950s. Among the orchestras with whom Solti recorded were the Berlin Philharmonic, Chicago Symphony, London Philharmonic, London Symphony and Vienna Philharmonic orchestras. Soloists in his operatic recordings included Birgit Nilsson, Joan Sutherland, Régine Crespin, Plácido Domingo, Gottlob Frick, Carlo Bergonzi, Kiri Te Kanawa and José van Dam. In concerto recordings, Solti conducted for, among others, András Schiff, Julius Katchen, Clifford Curzon, Vladimir Ashkenazy and Kyung-wha Chung.Solti's most celebrated recording was Wagner's Der Ring des Nibelungen made in Vienna, produced by Culshaw, between 1958 and 1965. It has twice been voted the greatest recording ever made, the first poll being among readers of Gramophone magazine in 1999, and the second of professional music critics in 2011, for the BBC's Music Magazine.
Output: What is the full name of the person that produced Solti's most celebrated recording?
Passage: Solti recorded throughout his career for the Decca Record Company. He made more than 250 recordings, including 45 complete opera sets. During the 1950s and 1960s Decca had an alliance with RCA Victor, and some of Solti's recordings were first issued on the RCA label.Solti was one of the first conductors who came to international fame as a recording artist before being widely known in the concert hall or opera house. Gordon Parry, the Decca engineer who worked with Solti and Culshaw on the Ring recordings, observed, "Many people have said 'Oh well, of course John Culshaw made Solti.' This is not true. He gave him the opportunity to show what he could do."Solti's first recordings were as a piano accompanist, playing at sessions in Zurich for the violinist Georg Kulenkampff in 1947. Decca's senior producer, Victor Olof did not much admire Solti as a conductor (nor did Walter Legge, Olof's opposite number at EMI's Columbia Records), but Olof's younger colleague and successor, Culshaw, held Solti in high regard. As Culshaw, and later James Walker, produced his recordings, Solti's career as a recording artist flourished from the mid-1950s. Among the orchestras with whom Solti recorded were the Berlin Philharmonic, Chicago Symphony, London Philharmonic, London Symphony and Vienna Philharmonic orchestras. Soloists in his operatic recordings included Birgit Nilsson, Joan Sutherland, Régine Crespin, Plácido Domingo, Gottlob Frick, Carlo Bergonzi, Kiri Te Kanawa and José van Dam. In concerto recordings, Solti conducted for, among others, András Schiff, Julius Katchen, Clifford Curzon, Vladimir Ashkenazy and Kyung-wha Chung.Solti's most celebrated recording was Wagner's Der Ring des Nibelungen made in Vienna, produced by Culshaw, between 1958 and 1965. It has twice been voted the greatest recording ever made, the first poll being among readers of Gramophone magazine in 1999, and the second of professional music critics in 2011, for the BBC's Music Magazine.
Output: What Solti recording  has twice been voted the greatest recording ever made?
Passage: Solti recorded throughout his career for the Decca Record Company. He made more than 250 recordings, including 45 complete opera sets. During the 1950s and 1960s Decca had an alliance with RCA Victor, and some of Solti's recordings were first issued on the RCA label.Solti was one of the first conductors who came to international fame as a recording artist before being widely known in the concert hall or opera house. Gordon Parry, the Decca engineer who worked with Solti and Culshaw on the Ring recordings, observed, "Many people have said 'Oh well, of course John Culshaw made Solti.' This is not true. He gave him the opportunity to show what he could do."Solti's first recordings were as a piano accompanist, playing at sessions in Zurich for the violinist Georg Kulenkampff in 1947. Decca's senior producer, Victor Olof did not much admire Solti as a conductor (nor did Walter Legge, Olof's opposite number at EMI's Columbia Records), but Olof's younger colleague and successor, Culshaw, held Solti in high regard. As Culshaw, and later James Walker, produced his recordings, Solti's career as a recording artist flourished from the mid-1950s. Among the orchestras with whom Solti recorded were the Berlin Philharmonic, Chicago Symphony, London Philharmonic, London Symphony and Vienna Philharmonic orchestras. Soloists in his operatic recordings included Birgit Nilsson, Joan Sutherland, Régine Crespin, Plácido Domingo, Gottlob Frick, Carlo Bergonzi, Kiri Te Kanawa and José van Dam. In concerto recordings, Solti conducted for, among others, András Schiff, Julius Katchen, Clifford Curzon, Vladimir Ashkenazy and Kyung-wha Chung.Solti's most celebrated recording was Wagner's Der Ring des Nibelungen made in Vienna, produced by Culshaw, between 1958 and 1965. It has twice been voted the greatest recording ever made, the first poll being among readers of Gramophone magazine in 1999, and the second of professional music critics in 2011, for the BBC's Music Magazine.
Output: Who voted Solti's recording of Wagner's Der Ring des Nibelungen the greatest recording ever made in 2011?
Passage: Solti recorded throughout his career for the Decca Record Company. He made more than 250 recordings, including 45 complete opera sets. During the 1950s and 1960s Decca had an alliance with RCA Victor, and some of Solti's recordings were first issued on the RCA label.Solti was one of the first conductors who came to international fame as a recording artist before being widely known in the concert hall or opera house. Gordon Parry, the Decca engineer who worked with Solti and Culshaw on the Ring recordings, observed, "Many people have said 'Oh well, of course John Culshaw made Solti.' This is not true. He gave him the opportunity to show what he could do."Solti's first recordings were as a piano accompanist, playing at sessions in Zurich for the violinist Georg Kulenkampff in 1947. Decca's senior producer, Victor Olof did not much admire Solti as a conductor (nor did Walter Legge, Olof's opposite number at EMI's Columbia Records), but Olof's younger colleague and successor, Culshaw, held Solti in high regard. As Culshaw, and later James Walker, produced his recordings, Solti's career as a recording artist flourished from the mid-1950s. Among the orchestras with whom Solti recorded were the Berlin Philharmonic, Chicago Symphony, London Philharmonic, London Symphony and Vienna Philharmonic orchestras. Soloists in his operatic recordings included Birgit Nilsson, Joan Sutherland, Régine Crespin, Plácido Domingo, Gottlob Frick, Carlo Bergonzi, Kiri Te Kanawa and José van Dam. In concerto recordings, Solti conducted for, among others, András Schiff, Julius Katchen, Clifford Curzon, Vladimir Ashkenazy and Kyung-wha Chung.Solti's most celebrated recording was Wagner's Der Ring des Nibelungen made in Vienna, produced by Culshaw, between 1958 and 1965. It has twice been voted the greatest recording ever made, the first poll being among readers of Gramophone magazine in 1999, and the second of professional music critics in 2011, for the BBC's Music Magazine.
Output: What recording did Gramophone magazine vote the greatest recording of all time in 1999?
Passage: A prologue explains the role of the bounty hunter. A wanted criminal named Burch tries to ambush bounty hunter Jim Kipp, but Kipp gets the better of him. Kipp takes Burch's corpse into town to collect the reward. A representative of the Pinkerton Detective Agency asks Kipp to hunt a trio of fugitives. Three masked men committed a robbery and fled with $100,000. Kipp, who has the reputation that he will do anything for money, is offered a huge reward if he can capture the culprits dead or alive.
Kipp rides into the town of Twin Forks, and uses an alias. He seeks information about one fugitive's wounds from Dr. Spencer, who is wary of revealing too much. Kipp is immediately attracted to the doctor's daughter, Julie. A limping man named Bill Rachin, who works at the hotel, draws Kipp's suspicion. So does George Williams, a card dealer. Williams' wife, Alice, flirts with Kipp and tries to coax information out of him. Kipp does not reveal the purpose for his visit.
Vance Edwards identifies Kipp and his reputation as a bounty hunter.  Edwards mistakenly believes Kipp is seeking him for another crime. The townspeople become anxious as the truth about Kipp becomes known. Led by the postmaster, Danvers, they offer Kipp a bribe to leave town. Kipp tells several people that he is expecting a package on the next day's stagecoach and in the package is a likeness of one of the robbers. Dr. Spencer later overhears Kipp telling his daughter the same thing and he becomes worried.
Output: What is the last name of the person who inquires about a fugitive's wounds?
Passage: A prologue explains the role of the bounty hunter. A wanted criminal named Burch tries to ambush bounty hunter Jim Kipp, but Kipp gets the better of him. Kipp takes Burch's corpse into town to collect the reward. A representative of the Pinkerton Detective Agency asks Kipp to hunt a trio of fugitives. Three masked men committed a robbery and fled with $100,000. Kipp, who has the reputation that he will do anything for money, is offered a huge reward if he can capture the culprits dead or alive.
Kipp rides into the town of Twin Forks, and uses an alias. He seeks information about one fugitive's wounds from Dr. Spencer, who is wary of revealing too much. Kipp is immediately attracted to the doctor's daughter, Julie. A limping man named Bill Rachin, who works at the hotel, draws Kipp's suspicion. So does George Williams, a card dealer. Williams' wife, Alice, flirts with Kipp and tries to coax information out of him. Kipp does not reveal the purpose for his visit.
Vance Edwards identifies Kipp and his reputation as a bounty hunter.  Edwards mistakenly believes Kipp is seeking him for another crime. The townspeople become anxious as the truth about Kipp becomes known. Led by the postmaster, Danvers, they offer Kipp a bribe to leave town. Kipp tells several people that he is expecting a package on the next day's stagecoach and in the package is a likeness of one of the robbers. Dr. Spencer later overhears Kipp telling his daughter the same thing and he becomes worried.
Output: What is the name of the person who has a daughter that Kipp is attracted to?
Passage: A prologue explains the role of the bounty hunter. A wanted criminal named Burch tries to ambush bounty hunter Jim Kipp, but Kipp gets the better of him. Kipp takes Burch's corpse into town to collect the reward. A representative of the Pinkerton Detective Agency asks Kipp to hunt a trio of fugitives. Three masked men committed a robbery and fled with $100,000. Kipp, who has the reputation that he will do anything for money, is offered a huge reward if he can capture the culprits dead or alive.
Kipp rides into the town of Twin Forks, and uses an alias. He seeks information about one fugitive's wounds from Dr. Spencer, who is wary of revealing too much. Kipp is immediately attracted to the doctor's daughter, Julie. A limping man named Bill Rachin, who works at the hotel, draws Kipp's suspicion. So does George Williams, a card dealer. Williams' wife, Alice, flirts with Kipp and tries to coax information out of him. Kipp does not reveal the purpose for his visit.
Vance Edwards identifies Kipp and his reputation as a bounty hunter.  Edwards mistakenly believes Kipp is seeking him for another crime. The townspeople become anxious as the truth about Kipp becomes known. Led by the postmaster, Danvers, they offer Kipp a bribe to leave town. Kipp tells several people that he is expecting a package on the next day's stagecoach and in the package is a likeness of one of the robbers. Dr. Spencer later overhears Kipp telling his daughter the same thing and he becomes worried.
Output: What is the first name of the person that Kipp tells something to that makes Dr. Spencer worried?
Passage: A prologue explains the role of the bounty hunter. A wanted criminal named Burch tries to ambush bounty hunter Jim Kipp, but Kipp gets the better of him. Kipp takes Burch's corpse into town to collect the reward. A representative of the Pinkerton Detective Agency asks Kipp to hunt a trio of fugitives. Three masked men committed a robbery and fled with $100,000. Kipp, who has the reputation that he will do anything for money, is offered a huge reward if he can capture the culprits dead or alive.
Kipp rides into the town of Twin Forks, and uses an alias. He seeks information about one fugitive's wounds from Dr. Spencer, who is wary of revealing too much. Kipp is immediately attracted to the doctor's daughter, Julie. A limping man named Bill Rachin, who works at the hotel, draws Kipp's suspicion. So does George Williams, a card dealer. Williams' wife, Alice, flirts with Kipp and tries to coax information out of him. Kipp does not reveal the purpose for his visit.
Vance Edwards identifies Kipp and his reputation as a bounty hunter.  Edwards mistakenly believes Kipp is seeking him for another crime. The townspeople become anxious as the truth about Kipp becomes known. Led by the postmaster, Danvers, they offer Kipp a bribe to leave town. Kipp tells several people that he is expecting a package on the next day's stagecoach and in the package is a likeness of one of the robbers. Dr. Spencer later overhears Kipp telling his daughter the same thing and he becomes worried.
Output: What's the full name of the man whose role is explained in the prologue?
Passage: White Deer Hole Creek is in a sandstone, limestone, and shale mountain region, entirely in the Ridge-and-valley Appalachians. South and North White Deer Ridge and Bald Eagle Mountain are composed of sedimentary Ordovician rock, while the valley rock is Silurian, with a small Devonian region closer to the river, in the north. The watershed has no deposits of coal, nor natural gas or oil fields. The creek is in a narrow mountain valley with steep slopes in its upper reaches. In its middle and lower reaches it has steep mountain slopes to the south, and a wide valley with rolling hills and gentle slopes to the north. The channel pattern is transitional, with a trellised drainage pattern.From 1961 to 1995, the United States Geological Survey (USGS) operated one stream gauge on White Deer Hole Creek at the Gap Road bridge (upstream of Elimsport), for the uppermost 18.2 square miles (47 km2) of the watershed. The highest yearly peak discharge measured at this site was 4,200 cubic feet (120 m3) per second and the highest yearly peak gauge height was 11.83 feet (3.61 m), both on June 22, 1972, during Hurricane Agnes. The lowest yearly peak discharge in this time period was 135 cubic feet (3.8 m3) per second and the lowest yearly peak gauge height was 4.29 feet (1.31 m), both on November 26, 1986. The USGS also measured discharge at Allenwood, very near the creek's mouth, as part of water quality measurements on seven occasions between 1970 and 1975. The average discharge was 70.4 cubic feet (1.99 m3) per second, and ranged from a high of 111 cubic feet (3.1 m3) per second to a low of 33 cubic feet (0.93 m3) per second. There are no other known stream gauges on the creek.
Output: What is the name of the location that had an average discharge of 70.4 cubic feet per second?
Passage: White Deer Hole Creek is in a sandstone, limestone, and shale mountain region, entirely in the Ridge-and-valley Appalachians. South and North White Deer Ridge and Bald Eagle Mountain are composed of sedimentary Ordovician rock, while the valley rock is Silurian, with a small Devonian region closer to the river, in the north. The watershed has no deposits of coal, nor natural gas or oil fields. The creek is in a narrow mountain valley with steep slopes in its upper reaches. In its middle and lower reaches it has steep mountain slopes to the south, and a wide valley with rolling hills and gentle slopes to the north. The channel pattern is transitional, with a trellised drainage pattern.From 1961 to 1995, the United States Geological Survey (USGS) operated one stream gauge on White Deer Hole Creek at the Gap Road bridge (upstream of Elimsport), for the uppermost 18.2 square miles (47 km2) of the watershed. The highest yearly peak discharge measured at this site was 4,200 cubic feet (120 m3) per second and the highest yearly peak gauge height was 11.83 feet (3.61 m), both on June 22, 1972, during Hurricane Agnes. The lowest yearly peak discharge in this time period was 135 cubic feet (3.8 m3) per second and the lowest yearly peak gauge height was 4.29 feet (1.31 m), both on November 26, 1986. The USGS also measured discharge at Allenwood, very near the creek's mouth, as part of water quality measurements on seven occasions between 1970 and 1975. The average discharge was 70.4 cubic feet (1.99 m3) per second, and ranged from a high of 111 cubic feet (3.1 m3) per second to a low of 33 cubic feet (0.93 m3) per second. There are no other known stream gauges on the creek.
Output: What is the name of the location that had a high discharge of 111 cubic feet per second?
Passage: White Deer Hole Creek is in a sandstone, limestone, and shale mountain region, entirely in the Ridge-and-valley Appalachians. South and North White Deer Ridge and Bald Eagle Mountain are composed of sedimentary Ordovician rock, while the valley rock is Silurian, with a small Devonian region closer to the river, in the north. The watershed has no deposits of coal, nor natural gas or oil fields. The creek is in a narrow mountain valley with steep slopes in its upper reaches. In its middle and lower reaches it has steep mountain slopes to the south, and a wide valley with rolling hills and gentle slopes to the north. The channel pattern is transitional, with a trellised drainage pattern.From 1961 to 1995, the United States Geological Survey (USGS) operated one stream gauge on White Deer Hole Creek at the Gap Road bridge (upstream of Elimsport), for the uppermost 18.2 square miles (47 km2) of the watershed. The highest yearly peak discharge measured at this site was 4,200 cubic feet (120 m3) per second and the highest yearly peak gauge height was 11.83 feet (3.61 m), both on June 22, 1972, during Hurricane Agnes. The lowest yearly peak discharge in this time period was 135 cubic feet (3.8 m3) per second and the lowest yearly peak gauge height was 4.29 feet (1.31 m), both on November 26, 1986. The USGS also measured discharge at Allenwood, very near the creek's mouth, as part of water quality measurements on seven occasions between 1970 and 1975. The average discharge was 70.4 cubic feet (1.99 m3) per second, and ranged from a high of 111 cubic feet (3.1 m3) per second to a low of 33 cubic feet (0.93 m3) per second. There are no other known stream gauges on the creek.
Output: What is the name of the location that had a low discharge of 33 cubic feet per second?
Passage: Poulenc made his début as a composer in 1917 with his Rapsodie nègre, a ten-minute, five-movement piece for baritone and chamber group; it was dedicated to Satie and premiered at one of a series of concerts of new music run by the singer Jane Bathori. There was a fashion for African arts in Paris at the time, and Poulenc was delighted to run across some published verses purportedly Liberian, but full of Parisian boulevard slang. He used one of the poems in two sections of the rhapsody. The baritone engaged for the first performance lost his nerve on the platform, and the composer, though no singer, jumped in. This jeu d'esprit was the first of many examples of what Anglophone critics came to call "leg-Poulenc". Ravel was amused by the piece and commented on Poulenc's ability to invent his own folklore. Stravinsky was impressed enough to use his influence to secure Poulenc a contract with a publisher, a kindness that Poulenc never forgot.
In completely arbitrary fashion Collet chose the names of six composers, Auric, Durey, Honegger, Poulenc, Tailleferre and myself, for no other reason than that we knew each other, that we were friends and were represented in the same programmes, but without the slightest concern for our different attitudes and our different natures. Auric and Poulenc followed the ideas of Cocteau, Honegger was a product of German Romanticism and my leanings were towards a Mediterranean lyrical art ... Collet's article made such a wide impression that the Groupe des Six had come into being.
Cocteau, though similar in age to Les Six, was something of a father-figure to the group. His literary style, "paradoxical and lapidary" in Hell's phrase, was anti-romantic, concise and irreverent. It greatly appealed to Poulenc, who made his first setting of Cocteau's words in 1919 and his last in 1961. When members of Les Six collaborated with each other, they contributed their own individual sections to the joint work. Their 1920 piano suite L'Album des Six consists of six separate and unrelated pieces. Their 1921 ballet Les mariés de la tour Eiffel contains three sections by Milhaud, two apiece by Auric, Poulenc and Tailleferre, one by Honegger and none by Durey, who was already distancing himself from the group.In the early 1920s Poulenc remained concerned at his lack of formal musical training. Satie was suspicious of music colleges, but Ravel advised Poulenc to take composition lessons; Milhaud suggested the composer and teacher Charles Koechlin. Poulenc worked with him intermittently from 1921 to 1925.
Output: What is the name of the person who used one of the poems in two sections of the rhapsody?
Passage: Poulenc made his début as a composer in 1917 with his Rapsodie nègre, a ten-minute, five-movement piece for baritone and chamber group; it was dedicated to Satie and premiered at one of a series of concerts of new music run by the singer Jane Bathori. There was a fashion for African arts in Paris at the time, and Poulenc was delighted to run across some published verses purportedly Liberian, but full of Parisian boulevard slang. He used one of the poems in two sections of the rhapsody. The baritone engaged for the first performance lost his nerve on the platform, and the composer, though no singer, jumped in. This jeu d'esprit was the first of many examples of what Anglophone critics came to call "leg-Poulenc". Ravel was amused by the piece and commented on Poulenc's ability to invent his own folklore. Stravinsky was impressed enough to use his influence to secure Poulenc a contract with a publisher, a kindness that Poulenc never forgot.
In completely arbitrary fashion Collet chose the names of six composers, Auric, Durey, Honegger, Poulenc, Tailleferre and myself, for no other reason than that we knew each other, that we were friends and were represented in the same programmes, but without the slightest concern for our different attitudes and our different natures. Auric and Poulenc followed the ideas of Cocteau, Honegger was a product of German Romanticism and my leanings were towards a Mediterranean lyrical art ... Collet's article made such a wide impression that the Groupe des Six had come into being.
Cocteau, though similar in age to Les Six, was something of a father-figure to the group. His literary style, "paradoxical and lapidary" in Hell's phrase, was anti-romantic, concise and irreverent. It greatly appealed to Poulenc, who made his first setting of Cocteau's words in 1919 and his last in 1961. When members of Les Six collaborated with each other, they contributed their own individual sections to the joint work. Their 1920 piano suite L'Album des Six consists of six separate and unrelated pieces. Their 1921 ballet Les mariés de la tour Eiffel contains three sections by Milhaud, two apiece by Auric, Poulenc and Tailleferre, one by Honegger and none by Durey, who was already distancing himself from the group.In the early 1920s Poulenc remained concerned at his lack of formal musical training. Satie was suspicious of music colleges, but Ravel advised Poulenc to take composition lessons; Milhaud suggested the composer and teacher Charles Koechlin. Poulenc worked with him intermittently from 1921 to 1925.
Output: What is the name of the person whose literary style was anti-romantic, concise and irreverent?
Passage: Poulenc made his début as a composer in 1917 with his Rapsodie nègre, a ten-minute, five-movement piece for baritone and chamber group; it was dedicated to Satie and premiered at one of a series of concerts of new music run by the singer Jane Bathori. There was a fashion for African arts in Paris at the time, and Poulenc was delighted to run across some published verses purportedly Liberian, but full of Parisian boulevard slang. He used one of the poems in two sections of the rhapsody. The baritone engaged for the first performance lost his nerve on the platform, and the composer, though no singer, jumped in. This jeu d'esprit was the first of many examples of what Anglophone critics came to call "leg-Poulenc". Ravel was amused by the piece and commented on Poulenc's ability to invent his own folklore. Stravinsky was impressed enough to use his influence to secure Poulenc a contract with a publisher, a kindness that Poulenc never forgot.
In completely arbitrary fashion Collet chose the names of six composers, Auric, Durey, Honegger, Poulenc, Tailleferre and myself, for no other reason than that we knew each other, that we were friends and were represented in the same programmes, but without the slightest concern for our different attitudes and our different natures. Auric and Poulenc followed the ideas of Cocteau, Honegger was a product of German Romanticism and my leanings were towards a Mediterranean lyrical art ... Collet's article made such a wide impression that the Groupe des Six had come into being.
Cocteau, though similar in age to Les Six, was something of a father-figure to the group. His literary style, "paradoxical and lapidary" in Hell's phrase, was anti-romantic, concise and irreverent. It greatly appealed to Poulenc, who made his first setting of Cocteau's words in 1919 and his last in 1961. When members of Les Six collaborated with each other, they contributed their own individual sections to the joint work. Their 1920 piano suite L'Album des Six consists of six separate and unrelated pieces. Their 1921 ballet Les mariés de la tour Eiffel contains three sections by Milhaud, two apiece by Auric, Poulenc and Tailleferre, one by Honegger and none by Durey, who was already distancing himself from the group.In the early 1920s Poulenc remained concerned at his lack of formal musical training. Satie was suspicious of music colleges, but Ravel advised Poulenc to take composition lessons; Milhaud suggested the composer and teacher Charles Koechlin. Poulenc worked with him intermittently from 1921 to 1925.
Output: What is the name of the person whose last setting of Cocteau's words was in 1961?
Passage: Poulenc made his début as a composer in 1917 with his Rapsodie nègre, a ten-minute, five-movement piece for baritone and chamber group; it was dedicated to Satie and premiered at one of a series of concerts of new music run by the singer Jane Bathori. There was a fashion for African arts in Paris at the time, and Poulenc was delighted to run across some published verses purportedly Liberian, but full of Parisian boulevard slang. He used one of the poems in two sections of the rhapsody. The baritone engaged for the first performance lost his nerve on the platform, and the composer, though no singer, jumped in. This jeu d'esprit was the first of many examples of what Anglophone critics came to call "leg-Poulenc". Ravel was amused by the piece and commented on Poulenc's ability to invent his own folklore. Stravinsky was impressed enough to use his influence to secure Poulenc a contract with a publisher, a kindness that Poulenc never forgot.
In completely arbitrary fashion Collet chose the names of six composers, Auric, Durey, Honegger, Poulenc, Tailleferre and myself, for no other reason than that we knew each other, that we were friends and were represented in the same programmes, but without the slightest concern for our different attitudes and our different natures. Auric and Poulenc followed the ideas of Cocteau, Honegger was a product of German Romanticism and my leanings were towards a Mediterranean lyrical art ... Collet's article made such a wide impression that the Groupe des Six had come into being.
Cocteau, though similar in age to Les Six, was something of a father-figure to the group. His literary style, "paradoxical and lapidary" in Hell's phrase, was anti-romantic, concise and irreverent. It greatly appealed to Poulenc, who made his first setting of Cocteau's words in 1919 and his last in 1961. When members of Les Six collaborated with each other, they contributed their own individual sections to the joint work. Their 1920 piano suite L'Album des Six consists of six separate and unrelated pieces. Their 1921 ballet Les mariés de la tour Eiffel contains three sections by Milhaud, two apiece by Auric, Poulenc and Tailleferre, one by Honegger and none by Durey, who was already distancing himself from the group.In the early 1920s Poulenc remained concerned at his lack of formal musical training. Satie was suspicious of music colleges, but Ravel advised Poulenc to take composition lessons; Milhaud suggested the composer and teacher Charles Koechlin. Poulenc worked with him intermittently from 1921 to 1925.
Output: What is the name of the group, also known as Groupe des Six, whose 1920 piano suite L'Album des Six consists of six separate and unrelated pieces?
Passage: Poulenc made his début as a composer in 1917 with his Rapsodie nègre, a ten-minute, five-movement piece for baritone and chamber group; it was dedicated to Satie and premiered at one of a series of concerts of new music run by the singer Jane Bathori. There was a fashion for African arts in Paris at the time, and Poulenc was delighted to run across some published verses purportedly Liberian, but full of Parisian boulevard slang. He used one of the poems in two sections of the rhapsody. The baritone engaged for the first performance lost his nerve on the platform, and the composer, though no singer, jumped in. This jeu d'esprit was the first of many examples of what Anglophone critics came to call "leg-Poulenc". Ravel was amused by the piece and commented on Poulenc's ability to invent his own folklore. Stravinsky was impressed enough to use his influence to secure Poulenc a contract with a publisher, a kindness that Poulenc never forgot.
In completely arbitrary fashion Collet chose the names of six composers, Auric, Durey, Honegger, Poulenc, Tailleferre and myself, for no other reason than that we knew each other, that we were friends and were represented in the same programmes, but without the slightest concern for our different attitudes and our different natures. Auric and Poulenc followed the ideas of Cocteau, Honegger was a product of German Romanticism and my leanings were towards a Mediterranean lyrical art ... Collet's article made such a wide impression that the Groupe des Six had come into being.
Cocteau, though similar in age to Les Six, was something of a father-figure to the group. His literary style, "paradoxical and lapidary" in Hell's phrase, was anti-romantic, concise and irreverent. It greatly appealed to Poulenc, who made his first setting of Cocteau's words in 1919 and his last in 1961. When members of Les Six collaborated with each other, they contributed their own individual sections to the joint work. Their 1920 piano suite L'Album des Six consists of six separate and unrelated pieces. Their 1921 ballet Les mariés de la tour Eiffel contains three sections by Milhaud, two apiece by Auric, Poulenc and Tailleferre, one by Honegger and none by Durey, who was already distancing himself from the group.In the early 1920s Poulenc remained concerned at his lack of formal musical training. Satie was suspicious of music colleges, but Ravel advised Poulenc to take composition lessons; Milhaud suggested the composer and teacher Charles Koechlin. Poulenc worked with him intermittently from 1921 to 1925.
Output: What is the name of the group, also known as Groupe des Six, whose 1921 ballet, Les mariés de la tour Eiffel, contains three sections by Milhaud, two apiece by Auric, Poulenc and Tailleferre, one by Honegger and none by Durey?
Passage: Poulenc made his début as a composer in 1917 with his Rapsodie nègre, a ten-minute, five-movement piece for baritone and chamber group; it was dedicated to Satie and premiered at one of a series of concerts of new music run by the singer Jane Bathori. There was a fashion for African arts in Paris at the time, and Poulenc was delighted to run across some published verses purportedly Liberian, but full of Parisian boulevard slang. He used one of the poems in two sections of the rhapsody. The baritone engaged for the first performance lost his nerve on the platform, and the composer, though no singer, jumped in. This jeu d'esprit was the first of many examples of what Anglophone critics came to call "leg-Poulenc". Ravel was amused by the piece and commented on Poulenc's ability to invent his own folklore. Stravinsky was impressed enough to use his influence to secure Poulenc a contract with a publisher, a kindness that Poulenc never forgot.
In completely arbitrary fashion Collet chose the names of six composers, Auric, Durey, Honegger, Poulenc, Tailleferre and myself, for no other reason than that we knew each other, that we were friends and were represented in the same programmes, but without the slightest concern for our different attitudes and our different natures. Auric and Poulenc followed the ideas of Cocteau, Honegger was a product of German Romanticism and my leanings were towards a Mediterranean lyrical art ... Collet's article made such a wide impression that the Groupe des Six had come into being.
Cocteau, though similar in age to Les Six, was something of a father-figure to the group. His literary style, "paradoxical and lapidary" in Hell's phrase, was anti-romantic, concise and irreverent. It greatly appealed to Poulenc, who made his first setting of Cocteau's words in 1919 and his last in 1961. When members of Les Six collaborated with each other, they contributed their own individual sections to the joint work. Their 1920 piano suite L'Album des Six consists of six separate and unrelated pieces. Their 1921 ballet Les mariés de la tour Eiffel contains three sections by Milhaud, two apiece by Auric, Poulenc and Tailleferre, one by Honegger and none by Durey, who was already distancing himself from the group.In the early 1920s Poulenc remained concerned at his lack of formal musical training. Satie was suspicious of music colleges, but Ravel advised Poulenc to take composition lessons; Milhaud suggested the composer and teacher Charles Koechlin. Poulenc worked with him intermittently from 1921 to 1925.
Output: What is the name of the group, also known as Groupe des Six, from which Durey was already distancing himself at the time of their 1921 ballet Les mariés de la tour Eiffel?
Passage: Poulenc made his début as a composer in 1917 with his Rapsodie nègre, a ten-minute, five-movement piece for baritone and chamber group; it was dedicated to Satie and premiered at one of a series of concerts of new music run by the singer Jane Bathori. There was a fashion for African arts in Paris at the time, and Poulenc was delighted to run across some published verses purportedly Liberian, but full of Parisian boulevard slang. He used one of the poems in two sections of the rhapsody. The baritone engaged for the first performance lost his nerve on the platform, and the composer, though no singer, jumped in. This jeu d'esprit was the first of many examples of what Anglophone critics came to call "leg-Poulenc". Ravel was amused by the piece and commented on Poulenc's ability to invent his own folklore. Stravinsky was impressed enough to use his influence to secure Poulenc a contract with a publisher, a kindness that Poulenc never forgot.
In completely arbitrary fashion Collet chose the names of six composers, Auric, Durey, Honegger, Poulenc, Tailleferre and myself, for no other reason than that we knew each other, that we were friends and were represented in the same programmes, but without the slightest concern for our different attitudes and our different natures. Auric and Poulenc followed the ideas of Cocteau, Honegger was a product of German Romanticism and my leanings were towards a Mediterranean lyrical art ... Collet's article made such a wide impression that the Groupe des Six had come into being.
Cocteau, though similar in age to Les Six, was something of a father-figure to the group. His literary style, "paradoxical and lapidary" in Hell's phrase, was anti-romantic, concise and irreverent. It greatly appealed to Poulenc, who made his first setting of Cocteau's words in 1919 and his last in 1961. When members of Les Six collaborated with each other, they contributed their own individual sections to the joint work. Their 1920 piano suite L'Album des Six consists of six separate and unrelated pieces. Their 1921 ballet Les mariés de la tour Eiffel contains three sections by Milhaud, two apiece by Auric, Poulenc and Tailleferre, one by Honegger and none by Durey, who was already distancing himself from the group.In the early 1920s Poulenc remained concerned at his lack of formal musical training. Satie was suspicious of music colleges, but Ravel advised Poulenc to take composition lessons; Milhaud suggested the composer and teacher Charles Koechlin. Poulenc worked with him intermittently from 1921 to 1925.
Output: What is the full name of the person with whom Poulenc worked intermittently from 1921 to 1925?
Passage: Poulenc made his début as a composer in 1917 with his Rapsodie nègre, a ten-minute, five-movement piece for baritone and chamber group; it was dedicated to Satie and premiered at one of a series of concerts of new music run by the singer Jane Bathori. There was a fashion for African arts in Paris at the time, and Poulenc was delighted to run across some published verses purportedly Liberian, but full of Parisian boulevard slang. He used one of the poems in two sections of the rhapsody. The baritone engaged for the first performance lost his nerve on the platform, and the composer, though no singer, jumped in. This jeu d'esprit was the first of many examples of what Anglophone critics came to call "leg-Poulenc". Ravel was amused by the piece and commented on Poulenc's ability to invent his own folklore. Stravinsky was impressed enough to use his influence to secure Poulenc a contract with a publisher, a kindness that Poulenc never forgot.
In completely arbitrary fashion Collet chose the names of six composers, Auric, Durey, Honegger, Poulenc, Tailleferre and myself, for no other reason than that we knew each other, that we were friends and were represented in the same programmes, but without the slightest concern for our different attitudes and our different natures. Auric and Poulenc followed the ideas of Cocteau, Honegger was a product of German Romanticism and my leanings were towards a Mediterranean lyrical art ... Collet's article made such a wide impression that the Groupe des Six had come into being.
Cocteau, though similar in age to Les Six, was something of a father-figure to the group. His literary style, "paradoxical and lapidary" in Hell's phrase, was anti-romantic, concise and irreverent. It greatly appealed to Poulenc, who made his first setting of Cocteau's words in 1919 and his last in 1961. When members of Les Six collaborated with each other, they contributed their own individual sections to the joint work. Their 1920 piano suite L'Album des Six consists of six separate and unrelated pieces. Their 1921 ballet Les mariés de la tour Eiffel contains three sections by Milhaud, two apiece by Auric, Poulenc and Tailleferre, one by Honegger and none by Durey, who was already distancing himself from the group.In the early 1920s Poulenc remained concerned at his lack of formal musical training. Satie was suspicious of music colleges, but Ravel advised Poulenc to take composition lessons; Milhaud suggested the composer and teacher Charles Koechlin. Poulenc worked with him intermittently from 1921 to 1925.
Output: What are the individual names of the members of Les Six who contributed their own individual sections to the joint work when they collaborated with each other?
Passage: Poulenc made his début as a composer in 1917 with his Rapsodie nègre, a ten-minute, five-movement piece for baritone and chamber group; it was dedicated to Satie and premiered at one of a series of concerts of new music run by the singer Jane Bathori. There was a fashion for African arts in Paris at the time, and Poulenc was delighted to run across some published verses purportedly Liberian, but full of Parisian boulevard slang. He used one of the poems in two sections of the rhapsody. The baritone engaged for the first performance lost his nerve on the platform, and the composer, though no singer, jumped in. This jeu d'esprit was the first of many examples of what Anglophone critics came to call "leg-Poulenc". Ravel was amused by the piece and commented on Poulenc's ability to invent his own folklore. Stravinsky was impressed enough to use his influence to secure Poulenc a contract with a publisher, a kindness that Poulenc never forgot.
In completely arbitrary fashion Collet chose the names of six composers, Auric, Durey, Honegger, Poulenc, Tailleferre and myself, for no other reason than that we knew each other, that we were friends and were represented in the same programmes, but without the slightest concern for our different attitudes and our different natures. Auric and Poulenc followed the ideas of Cocteau, Honegger was a product of German Romanticism and my leanings were towards a Mediterranean lyrical art ... Collet's article made such a wide impression that the Groupe des Six had come into being.
Cocteau, though similar in age to Les Six, was something of a father-figure to the group. His literary style, "paradoxical and lapidary" in Hell's phrase, was anti-romantic, concise and irreverent. It greatly appealed to Poulenc, who made his first setting of Cocteau's words in 1919 and his last in 1961. When members of Les Six collaborated with each other, they contributed their own individual sections to the joint work. Their 1920 piano suite L'Album des Six consists of six separate and unrelated pieces. Their 1921 ballet Les mariés de la tour Eiffel contains three sections by Milhaud, two apiece by Auric, Poulenc and Tailleferre, one by Honegger and none by Durey, who was already distancing himself from the group.In the early 1920s Poulenc remained concerned at his lack of formal musical training. Satie was suspicious of music colleges, but Ravel advised Poulenc to take composition lessons; Milhaud suggested the composer and teacher Charles Koechlin. Poulenc worked with him intermittently from 1921 to 1925.
Output: What is the name of the person whose leanings were reportedly "towards a Mediterranean lyrical art"?
Passage: Poulenc made his début as a composer in 1917 with his Rapsodie nègre, a ten-minute, five-movement piece for baritone and chamber group; it was dedicated to Satie and premiered at one of a series of concerts of new music run by the singer Jane Bathori. There was a fashion for African arts in Paris at the time, and Poulenc was delighted to run across some published verses purportedly Liberian, but full of Parisian boulevard slang. He used one of the poems in two sections of the rhapsody. The baritone engaged for the first performance lost his nerve on the platform, and the composer, though no singer, jumped in. This jeu d'esprit was the first of many examples of what Anglophone critics came to call "leg-Poulenc". Ravel was amused by the piece and commented on Poulenc's ability to invent his own folklore. Stravinsky was impressed enough to use his influence to secure Poulenc a contract with a publisher, a kindness that Poulenc never forgot.
In completely arbitrary fashion Collet chose the names of six composers, Auric, Durey, Honegger, Poulenc, Tailleferre and myself, for no other reason than that we knew each other, that we were friends and were represented in the same programmes, but without the slightest concern for our different attitudes and our different natures. Auric and Poulenc followed the ideas of Cocteau, Honegger was a product of German Romanticism and my leanings were towards a Mediterranean lyrical art ... Collet's article made such a wide impression that the Groupe des Six had come into being.
Cocteau, though similar in age to Les Six, was something of a father-figure to the group. His literary style, "paradoxical and lapidary" in Hell's phrase, was anti-romantic, concise and irreverent. It greatly appealed to Poulenc, who made his first setting of Cocteau's words in 1919 and his last in 1961. When members of Les Six collaborated with each other, they contributed their own individual sections to the joint work. Their 1920 piano suite L'Album des Six consists of six separate and unrelated pieces. Their 1921 ballet Les mariés de la tour Eiffel contains three sections by Milhaud, two apiece by Auric, Poulenc and Tailleferre, one by Honegger and none by Durey, who was already distancing himself from the group.In the early 1920s Poulenc remained concerned at his lack of formal musical training. Satie was suspicious of music colleges, but Ravel advised Poulenc to take composition lessons; Milhaud suggested the composer and teacher Charles Koechlin. Poulenc worked with him intermittently from 1921 to 1925.
Output: What is the name of the person that lacked formal musical training?
Passage: On 9 September, "Colonel Cambodia" stated that the remaining six members of the Royal Irish patrol, who had now been held for over a fortnight, would be released only after a new government was formed in Sierra Leone. The negotiators concluded that the West Side Boys' increasingly unrealistic demands were stalling tactics rather than a serious attempt to conclude the crisis. At around the same time, the SAS teams near the West Side Boys' base reported that they had seen no sign of the captive soldiers during the four days they had been in position. There were also concerns that the West Side Boys might move further inland, and either kill the soldiers or move them to a location from which it would be more difficult for British forces to extract them. The combination of these factors led COBRA to order an assault.The operation was to commence at first light the next day, 10 September. The intervening time was spent securing the political and legal basis for the raid. Final approval was gained from Sierra Leonean President Ahmad Kabbah, and British Prime Minister Tony Blair, while the Army Legal Corps secured approval from the Sierra Leonean Police. Fordham, who had been leading the negotiations, telephoned the West Side Boys and was able to establish that the captive soldiers were alive, and the final orders were issued in the evening of 9 September.The two villages were to be assaulted simultaneously—Gberi Bana, where the Royal Irish were held, by the SAS and Magbeni by the paras. In addition to the remaining Royal Irish soldiers, the SAS were also tasked with extracting Lieutenant Musa Bangura—the patrol's SLA liaison, whose extraction was given the same priority as that of the Royal Irish—and a group of Sierra Leonean civilians who were being held by the West Side Boys.
Output: What are the names of the two villages that were to be assaulted simultaneously?