niryuu/sni-each-converted huggingface dataset:
Passage: Tragic Kingdom is the third studio album by American rock band No Doubt. It was released on October 10, 1995, by Trauma Records and Interscope Records. It was the final album to feature original keyboardist Eric Stefani, who left the band in 1994. The album was produced by Matthew Wilder and recorded in 11 studios in the Greater Los Angeles Area between March 1993 and October 1995. Between 1995 and 1998, seven singles were released from it, including "Just a Girl", which charted on the Billboard Hot 100 and the UK Singles Chart; and "Don't Speak", which topped the Billboard Hot 100 Airplay and reached the top five of many international charts.
The album received mostly positive reviews from music critics. At the 39th Annual Grammy Awards, No Doubt earned nominations for Best New Artist and Best Rock Album. It has sold over 16 million copies worldwide, and was certified diamond by the Recording Industry Association of America (RIAA) in the United States and Canada, platinum in the United Kingdom, and triple platinum in Australia. Tragic Kingdom helped to initiate the ska revival of the 1990s, persuading record labels to sign more ska bands and helping them to attract more mainstream attention. The album was ranked number 441 on Rolling Stone magazine's list of the 500 greatest albums of all time.
No Doubt embarked on a tour to promote the album. It was designed by Project X and lasted two and a half years. An early 1997 performance at the Arrowhead Pond of Anaheim was filmed and released as Live in the Tragic Kingdom on VHS and later DVD.
Output: What were the three certifications RIAA gave Tragic Kingdom between the United States, Canada, United Kingdom and Australia?
Passage: A vast marshland could only have been formed due to the underlying rock formations in southern Florida. The floor of the Everglades formed between 25 million and 2 million years ago when the Florida peninsula was a shallow sea floor. The peninsula has been covered by sea water at least seven times since the earliest bedrock formation. The rock that makes up the Everglades floor was created as layers of calcium carbonate were compressed by ocean water, making limestone. Fossilized bryozoans and tiny shells, or ooids, make the limestone porous. Water is stored in the rock, sometimes from one year to the next. The length of time that a region in the Everglades remains flooded, called a hydroperiod, determines what particular soils and vegetation are present.
Shorter hydroperiods of three or four months promote the growth of periphyton: algae and other microscopic organisms covered with calcium carbonate crystals. Periphyton is the basic building block of marl, a calcitic mud. In areas with hydroperiods of longer than nine months, peat builds up over hundreds or thousands of years due to many generations of decaying plant matter. Peat and marl are considered nutrient-poor soils that foster the growth of specialized vegetation depending on the length of the regional hydroperiod.
Five types of peat appear in the Everglades system; each type supports a specific type of vegetation, such as sawgrass, tree islands, or custard apple trees. Peat buildup is possible because water prevents oxygen from quickly decomposing plant matter. Once peat buildup reaches the surface, oxygen reacts with the microorganisms to decay the peat rapidly in a process called subsidence. Initial attempts at developing agriculture near Lake Okeechobee were successful, but the nutrients in the peat quickly deteriorated by drying, and were broken down by bacteria in the soil. The dried peat burned or was degraded into carbon dioxide and water by microorganisms. Some homes built near early farms had to restructure their foundations on stilts as the peat deteriorated; other areas lost approximately 8 feet (2.4 m) of soil depth. Between the 1880s and 2005, an estimated 3.4 billion metric tons of soil has been lost in the Everglades due to oxidation. Most of that loss occurs in the Everglades Agricultural Area; the least amount of loss is found in Everglades National Park.
Output: Where is the location that has the least amount of loss of tons of soil in the area with a vast marshland?
Passage: A vast marshland could only have been formed due to the underlying rock formations in southern Florida. The floor of the Everglades formed between 25 million and 2 million years ago when the Florida peninsula was a shallow sea floor. The peninsula has been covered by sea water at least seven times since the earliest bedrock formation. The rock that makes up the Everglades floor was created as layers of calcium carbonate were compressed by ocean water, making limestone. Fossilized bryozoans and tiny shells, or ooids, make the limestone porous. Water is stored in the rock, sometimes from one year to the next. The length of time that a region in the Everglades remains flooded, called a hydroperiod, determines what particular soils and vegetation are present.
Shorter hydroperiods of three or four months promote the growth of periphyton: algae and other microscopic organisms covered with calcium carbonate crystals. Periphyton is the basic building block of marl, a calcitic mud. In areas with hydroperiods of longer than nine months, peat builds up over hundreds or thousands of years due to many generations of decaying plant matter. Peat and marl are considered nutrient-poor soils that foster the growth of specialized vegetation depending on the length of the regional hydroperiod.
Five types of peat appear in the Everglades system; each type supports a specific type of vegetation, such as sawgrass, tree islands, or custard apple trees. Peat buildup is possible because water prevents oxygen from quickly decomposing plant matter. Once peat buildup reaches the surface, oxygen reacts with the microorganisms to decay the peat rapidly in a process called subsidence. Initial attempts at developing agriculture near Lake Okeechobee were successful, but the nutrients in the peat quickly deteriorated by drying, and were broken down by bacteria in the soil. The dried peat burned or was degraded into carbon dioxide and water by microorganisms. Some homes built near early farms had to restructure their foundations on stilts as the peat deteriorated; other areas lost approximately 8 feet (2.4 m) of soil depth. Between the 1880s and 2005, an estimated 3.4 billion metric tons of soil has been lost in the Everglades due to oxidation. Most of that loss occurs in the Everglades Agricultural Area; the least amount of loss is found in Everglades National Park.
Output: Where is the location that has the highest amount of loss of tons of soil?
Passage: A vast marshland could only have been formed due to the underlying rock formations in southern Florida. The floor of the Everglades formed between 25 million and 2 million years ago when the Florida peninsula was a shallow sea floor. The peninsula has been covered by sea water at least seven times since the earliest bedrock formation. The rock that makes up the Everglades floor was created as layers of calcium carbonate were compressed by ocean water, making limestone. Fossilized bryozoans and tiny shells, or ooids, make the limestone porous. Water is stored in the rock, sometimes from one year to the next. The length of time that a region in the Everglades remains flooded, called a hydroperiod, determines what particular soils and vegetation are present.
Shorter hydroperiods of three or four months promote the growth of periphyton: algae and other microscopic organisms covered with calcium carbonate crystals. Periphyton is the basic building block of marl, a calcitic mud. In areas with hydroperiods of longer than nine months, peat builds up over hundreds or thousands of years due to many generations of decaying plant matter. Peat and marl are considered nutrient-poor soils that foster the growth of specialized vegetation depending on the length of the regional hydroperiod.
Five types of peat appear in the Everglades system; each type supports a specific type of vegetation, such as sawgrass, tree islands, or custard apple trees. Peat buildup is possible because water prevents oxygen from quickly decomposing plant matter. Once peat buildup reaches the surface, oxygen reacts with the microorganisms to decay the peat rapidly in a process called subsidence. Initial attempts at developing agriculture near Lake Okeechobee were successful, but the nutrients in the peat quickly deteriorated by drying, and were broken down by bacteria in the soil. The dried peat burned or was degraded into carbon dioxide and water by microorganisms. Some homes built near early farms had to restructure their foundations on stilts as the peat deteriorated; other areas lost approximately 8 feet (2.4 m) of soil depth. Between the 1880s and 2005, an estimated 3.4 billion metric tons of soil has been lost in the Everglades due to oxidation. Most of that loss occurs in the Everglades Agricultural Area; the least amount of loss is found in Everglades National Park.
Output: At what lake in the area that has been covered by sea water at least seven times do nutrients quickly deteriorate?
Passage: Jane Stanford has been described as having a "Victorian aversion to blank space" and so created a church that is "a dimly lit cavern of glowing mosaic surfaces ... and vibrant, stained-glass windows". The church is richly decorated throughout, its architectural features carved with formalized foliate ornament, and the walls adorned with mosaics in the Byzantine manner.  Even though the church was dedicated in 1903, interior decoration took another two years to complete, with the installation of the mosaics and the carving of the extensive quotations on the walls occurring simultaneously.  There are 29 large carvings of quatrefoils that contain ancient religious symbols in the walls of church's west and east transepts.  The stained-glass windows were crafted by J. and R. Lamb of New York.  Its exposed-timber ceilings are modeled after Boston's Trinity Church.The church is entered through three bronze doors adorned with angels, a recurring motif throughout the church. The doors open up into a narthex or vestibule decorated with mosaics on the walls, illuminated by the many colors of the stained glass windows, and stone carvings on the architectural details. There is a variety of styles and motifs reflecting the hands of different craftsmen.  The mosaic that adorns the floor depicts the Lamb of God surrounded by the symbols of the four gospel writers: St. Matthew (the winged angel), St. Mark (the winged lion), St. Luke (the ox), and St. John (the eagle).  Some of these symbols also appear in other areas of the church.  A Celtic cross adorns the stained glass above the central wooden door that leads into the nave, and Latin epigraphs have been engraved above the two side doors.Above the narthex is an organ gallery. The nave is arcaded and has a single aisle on each side with clerestory windows above. Its walls, from the floor to the top of the clerestory, are decorated with 15 murals made of mosaics on each side, and depicts scenes from the Old Testament.  The exposed timber ceiling was inspired by Trinity Church and is constructed with tied hammer beams, which can be seen radiating in the chancel.  The floor of the church slopes downward towards the crossing.  The chancel and transepts are three semi-circular apses. They are separated from the broad central space by large semi-circular arches on stout columns with carved capitals. The transept apses each have a balcony with a concave balustrade.
Output: What is the name of the building that inspired the ceiling of the church designed by the person who was described as having a "Victorian aversion to blank space"?
Passage: Although the video for "Single Ladies" was the cheapest and quickest of all her videos to produce, Beyoncé felt that it ended up being "the most iconic ... something special". It spawned a dance craze and inspired thousands of imitations all over the world, many of which were posted on YouTube. In an interview with MTV, Beyoncé expressed her appreciation of the public's response to the video, and stated that she had spent much time watching several of these parodies: "It's beautiful to feel you touch people and bring a song to life with a video." Nava also expressed his surprise at the positive reception of the video, and attributed its success to the video's understated, less-is-more approach. In an interview with Chandler Levack for Eye Weekly, Toronto director Scott Cudmore stated that the Internet age has impacted the way music videos are made, as well as perceived by an audience. Although Cudmore believes that the music video as a medium is "disappearing ... from the mainstream public eye", he accredited "Single Ladies" with its resurgence, and stated that after the video appeared on the Internet, people began to "consciously look for music videos because of its art".The music video has won several awards and accolades. It was voted Best Dance Routine in the 2008 Popjustice Readers' Poll; and won Video of the Year becoming the first black and white music video since Don Henley's The Boys of Summer, Best Choreography, and Best Editing at the 2009 MTV Video Music Awards. The song also won Best Video at the 2009 MTV Europe Music Awards, the 2009 MOBO Awards, and the 2009 BET Awards. The video has also received many nominations: Best Video in the 2009 Popjustice Readers Polls (placed 4th); nine (including the three that it won) in the 2009 MTV Video Music Awards; Best International Artist Video at the 2009 MuchMusic Video Awards (losing to Lady Gaga's "Poker Face"); Outstanding Music Video at the 2009 NAACP Image Awards; and two at the 2009 MTV Australia Awards for Best Video and Best Moves. The video was ranked at number four on BET's Notarized: Top 100 Videos of 2008 countdown, and at number three on VH1's Top 40 Videos of 2009. It was voted best music video of the 2000s decade by fans of the music website MUZU TV and fifth-best of the decade by readers of Billboard magazine. Claire Suddath of Time magazine included it in her 30 All-Time Best Music Videos, writing that "sometimes the best creations are also the simplest". In 2013, John Boone and Jennifer Cady of E! Online placed the video at number one on their list of Beyoncé's ten best music videos writing, "[It has] All of the sex appeal. Ever... Beyoncé doesn't need anything but an empty room in this one. It's all about the dancing. It's all about the leotard. It's all about the fierceness. And it's epic.". The music video was certified platinum by CRIA for shipment of sales 10,000 units.
Output: What award show gave the best editing award to the music video that was Beyoncé's cheapest and quickest to produce?
Passage: Although the video for "Single Ladies" was the cheapest and quickest of all her videos to produce, Beyoncé felt that it ended up being "the most iconic ... something special". It spawned a dance craze and inspired thousands of imitations all over the world, many of which were posted on YouTube. In an interview with MTV, Beyoncé expressed her appreciation of the public's response to the video, and stated that she had spent much time watching several of these parodies: "It's beautiful to feel you touch people and bring a song to life with a video." Nava also expressed his surprise at the positive reception of the video, and attributed its success to the video's understated, less-is-more approach. In an interview with Chandler Levack for Eye Weekly, Toronto director Scott Cudmore stated that the Internet age has impacted the way music videos are made, as well as perceived by an audience. Although Cudmore believes that the music video as a medium is "disappearing ... from the mainstream public eye", he accredited "Single Ladies" with its resurgence, and stated that after the video appeared on the Internet, people began to "consciously look for music videos because of its art".The music video has won several awards and accolades. It was voted Best Dance Routine in the 2008 Popjustice Readers' Poll; and won Video of the Year becoming the first black and white music video since Don Henley's The Boys of Summer, Best Choreography, and Best Editing at the 2009 MTV Video Music Awards. The song also won Best Video at the 2009 MTV Europe Music Awards, the 2009 MOBO Awards, and the 2009 BET Awards. The video has also received many nominations: Best Video in the 2009 Popjustice Readers Polls (placed 4th); nine (including the three that it won) in the 2009 MTV Video Music Awards; Best International Artist Video at the 2009 MuchMusic Video Awards (losing to Lady Gaga's "Poker Face"); Outstanding Music Video at the 2009 NAACP Image Awards; and two at the 2009 MTV Australia Awards for Best Video and Best Moves. The video was ranked at number four on BET's Notarized: Top 100 Videos of 2008 countdown, and at number three on VH1's Top 40 Videos of 2009. It was voted best music video of the 2000s decade by fans of the music website MUZU TV and fifth-best of the decade by readers of Billboard magazine. Claire Suddath of Time magazine included it in her 30 All-Time Best Music Videos, writing that "sometimes the best creations are also the simplest". In 2013, John Boone and Jennifer Cady of E! Online placed the video at number one on their list of Beyoncé's ten best music videos writing, "[It has] All of the sex appeal. Ever... Beyoncé doesn't need anything but an empty room in this one. It's all about the dancing. It's all about the leotard. It's all about the fierceness. And it's epic.". The music video was certified platinum by CRIA for shipment of sales 10,000 units.
Output: What publication ranked Beyoncé's video that was "something special" at number three of the top 40 videos of 2009?
Passage: Although the video for "Single Ladies" was the cheapest and quickest of all her videos to produce, Beyoncé felt that it ended up being "the most iconic ... something special". It spawned a dance craze and inspired thousands of imitations all over the world, many of which were posted on YouTube. In an interview with MTV, Beyoncé expressed her appreciation of the public's response to the video, and stated that she had spent much time watching several of these parodies: "It's beautiful to feel you touch people and bring a song to life with a video." Nava also expressed his surprise at the positive reception of the video, and attributed its success to the video's understated, less-is-more approach. In an interview with Chandler Levack for Eye Weekly, Toronto director Scott Cudmore stated that the Internet age has impacted the way music videos are made, as well as perceived by an audience. Although Cudmore believes that the music video as a medium is "disappearing ... from the mainstream public eye", he accredited "Single Ladies" with its resurgence, and stated that after the video appeared on the Internet, people began to "consciously look for music videos because of its art".The music video has won several awards and accolades. It was voted Best Dance Routine in the 2008 Popjustice Readers' Poll; and won Video of the Year becoming the first black and white music video since Don Henley's The Boys of Summer, Best Choreography, and Best Editing at the 2009 MTV Video Music Awards. The song also won Best Video at the 2009 MTV Europe Music Awards, the 2009 MOBO Awards, and the 2009 BET Awards. The video has also received many nominations: Best Video in the 2009 Popjustice Readers Polls (placed 4th); nine (including the three that it won) in the 2009 MTV Video Music Awards; Best International Artist Video at the 2009 MuchMusic Video Awards (losing to Lady Gaga's "Poker Face"); Outstanding Music Video at the 2009 NAACP Image Awards; and two at the 2009 MTV Australia Awards for Best Video and Best Moves. The video was ranked at number four on BET's Notarized: Top 100 Videos of 2008 countdown, and at number three on VH1's Top 40 Videos of 2009. It was voted best music video of the 2000s decade by fans of the music website MUZU TV and fifth-best of the decade by readers of Billboard magazine. Claire Suddath of Time magazine included it in her 30 All-Time Best Music Videos, writing that "sometimes the best creations are also the simplest". In 2013, John Boone and Jennifer Cady of E! Online placed the video at number one on their list of Beyoncé's ten best music videos writing, "[It has] All of the sex appeal. Ever... Beyoncé doesn't need anything but an empty room in this one. It's all about the dancing. It's all about the leotard. It's all about the fierceness. And it's epic.". The music video was certified platinum by CRIA for shipment of sales 10,000 units.
Output: What is the last name of the writer who when writing about the video that spawned a dance craze noted that "sometimes the best creations are also the simplest"?
Passage: Although the video for "Single Ladies" was the cheapest and quickest of all her videos to produce, Beyoncé felt that it ended up being "the most iconic ... something special". It spawned a dance craze and inspired thousands of imitations all over the world, many of which were posted on YouTube. In an interview with MTV, Beyoncé expressed her appreciation of the public's response to the video, and stated that she had spent much time watching several of these parodies: "It's beautiful to feel you touch people and bring a song to life with a video." Nava also expressed his surprise at the positive reception of the video, and attributed its success to the video's understated, less-is-more approach. In an interview with Chandler Levack for Eye Weekly, Toronto director Scott Cudmore stated that the Internet age has impacted the way music videos are made, as well as perceived by an audience. Although Cudmore believes that the music video as a medium is "disappearing ... from the mainstream public eye", he accredited "Single Ladies" with its resurgence, and stated that after the video appeared on the Internet, people began to "consciously look for music videos because of its art".The music video has won several awards and accolades. It was voted Best Dance Routine in the 2008 Popjustice Readers' Poll; and won Video of the Year becoming the first black and white music video since Don Henley's The Boys of Summer, Best Choreography, and Best Editing at the 2009 MTV Video Music Awards. The song also won Best Video at the 2009 MTV Europe Music Awards, the 2009 MOBO Awards, and the 2009 BET Awards. The video has also received many nominations: Best Video in the 2009 Popjustice Readers Polls (placed 4th); nine (including the three that it won) in the 2009 MTV Video Music Awards; Best International Artist Video at the 2009 MuchMusic Video Awards (losing to Lady Gaga's "Poker Face"); Outstanding Music Video at the 2009 NAACP Image Awards; and two at the 2009 MTV Australia Awards for Best Video and Best Moves. The video was ranked at number four on BET's Notarized: Top 100 Videos of 2008 countdown, and at number three on VH1's Top 40 Videos of 2009. It was voted best music video of the 2000s decade by fans of the music website MUZU TV and fifth-best of the decade by readers of Billboard magazine. Claire Suddath of Time magazine included it in her 30 All-Time Best Music Videos, writing that "sometimes the best creations are also the simplest". In 2013, John Boone and Jennifer Cady of E! Online placed the video at number one on their list of Beyoncé's ten best music videos writing, "[It has] All of the sex appeal. Ever... Beyoncé doesn't need anything but an empty room in this one. It's all about the dancing. It's all about the leotard. It's all about the fierceness. And it's epic.". The music video was certified platinum by CRIA for shipment of sales 10,000 units.
Output: What is the name of the organization that certified the video by Beyoncé that inspired thousands of imitations platinum?
Passage: The film begins as Emma, a young woman not yet 18, is packing up her belongings and preparing to leave the convent to marry the man her farmer father has arranged as her husband: country doctor Charles Bovary. But she becomes bored and miserable in the small, provincial town of Yonville. She spends most of her time alone, reading or wandering in the garden while Charles tends to patients. Even when he's home, he either bores or neglects Emma.
Emma longs for more—excitement, passion, status, and love. She shows restraint at first, when smitten law clerk Leon Dupuis skittishly professes his affections for her. But she is intrigued by the dashing Marquis, who makes more overt advances. Their affair emboldens her as she believes it gives her glimpse of the good life. She spends money she doesn't have on lavish dresses and decorations from the obsequious dry-goods dealer Monsieur Lheureux, who's all too happy to continue extending her credit.
Output: What's the profession of the man that has tells the farmer's daughter of his affections?
Passage: The film begins as Emma, a young woman not yet 18, is packing up her belongings and preparing to leave the convent to marry the man her farmer father has arranged as her husband: country doctor Charles Bovary. But she becomes bored and miserable in the small, provincial town of Yonville. She spends most of her time alone, reading or wandering in the garden while Charles tends to patients. Even when he's home, he either bores or neglects Emma.
Emma longs for more—excitement, passion, status, and love. She shows restraint at first, when smitten law clerk Leon Dupuis skittishly professes his affections for her. But she is intrigued by the dashing Marquis, who makes more overt advances. Their affair emboldens her as she believes it gives her glimpse of the good life. She spends money she doesn't have on lavish dresses and decorations from the obsequious dry-goods dealer Monsieur Lheureux, who's all too happy to continue extending her credit.
Output: What's the profession of Charles Bovary's father in law?
Passage: The film begins as Emma, a young woman not yet 18, is packing up her belongings and preparing to leave the convent to marry the man her farmer father has arranged as her husband: country doctor Charles Bovary. But she becomes bored and miserable in the small, provincial town of Yonville. She spends most of her time alone, reading or wandering in the garden while Charles tends to patients. Even when he's home, he either bores or neglects Emma.
Emma longs for more—excitement, passion, status, and love. She shows restraint at first, when smitten law clerk Leon Dupuis skittishly professes his affections for her. But she is intrigued by the dashing Marquis, who makes more overt advances. Their affair emboldens her as she believes it gives her glimpse of the good life. She spends money she doesn't have on lavish dresses and decorations from the obsequious dry-goods dealer Monsieur Lheureux, who's all too happy to continue extending her credit.
Output: Whose advances does the doctor's wife resist?
Passage: The film begins as Emma, a young woman not yet 18, is packing up her belongings and preparing to leave the convent to marry the man her farmer father has arranged as her husband: country doctor Charles Bovary. But she becomes bored and miserable in the small, provincial town of Yonville. She spends most of her time alone, reading or wandering in the garden while Charles tends to patients. Even when he's home, he either bores or neglects Emma.
Emma longs for more—excitement, passion, status, and love. She shows restraint at first, when smitten law clerk Leon Dupuis skittishly professes his affections for her. But she is intrigued by the dashing Marquis, who makes more overt advances. Their affair emboldens her as she believes it gives her glimpse of the good life. She spends money she doesn't have on lavish dresses and decorations from the obsequious dry-goods dealer Monsieur Lheureux, who's all too happy to continue extending her credit.
Output: Who does Marquis help embolden with the affair?
Passage: Various reports appeared to confirm that the symphony's release was imminent. The Finnish composer Leevi Madetoja mentioned in 1934 that the work was virtually complete; an article by the Swedish journalist Kurt Nordfors indicated that two movements were complete and the rest sketched out. As pressure to produce the symphony increased, Sibelius became increasingly withdrawn and unwilling to discuss his progress. In December 1935, during an interview in connection with his 70th birthday celebrations, he indicated that he had discarded a whole year's work; this pointed to a full-scale revision of the Eighth. However, when The Times's correspondent asked for details of the work's progress Sibelius became irritated. He was furious when Downes continued to pester him for information, on one occasion shouting "Ich kann nicht!" ("I cannot!").A receipt found among Sibelius's papers refers to a "Symphonie" being bound by the firm of Weilin & Göös in August 1938. While it is not established that this transaction related to the Eighth, the Sibelius scholar Kari Kilpeläinen points out that none of the earlier symphony scores carry the unnumbered heading "Symphonie", and asks: "Could he have omitted the number to prevent news of the now completed Eighth from spreading? Or did he not give the work a number at all, because he was not satisfied with it?" The composer's daughter Katarina spoke of the self-doubt that afflicted her father at this time, aggravated by the continuing expectations and fuss that surrounded the Eighth Symphony. "He wanted it to be better than the other symphonies. Finally it became a burden, even though so much of it had already been written down. In the end I don't know whether he would have accepted what he had written."Sibelius remained in Finland during the Winter War of 1939–40, despite offers of asylum in the United States. After the war ended in March 1940 he moved with his family to an apartment on Kammiokatu (later renamed Sibeliuksenkatu or 'Sibelius Street' in his honour) in the Töölö district of Helsinki, where they remained for a year. During that time they were visited by the pianist Martti Paavola, who was able to examine the contents of Sibelius's safe. Paavola later reported to his pupil Einar Englund that among the music kept there was a symphony, "most likely the Eighth".
Output: What is the name of the person that discarded a whole year's work?
Passage: Various reports appeared to confirm that the symphony's release was imminent. The Finnish composer Leevi Madetoja mentioned in 1934 that the work was virtually complete; an article by the Swedish journalist Kurt Nordfors indicated that two movements were complete and the rest sketched out. As pressure to produce the symphony increased, Sibelius became increasingly withdrawn and unwilling to discuss his progress. In December 1935, during an interview in connection with his 70th birthday celebrations, he indicated that he had discarded a whole year's work; this pointed to a full-scale revision of the Eighth. However, when The Times's correspondent asked for details of the work's progress Sibelius became irritated. He was furious when Downes continued to pester him for information, on one occasion shouting "Ich kann nicht!" ("I cannot!").A receipt found among Sibelius's papers refers to a "Symphonie" being bound by the firm of Weilin & Göös in August 1938. While it is not established that this transaction related to the Eighth, the Sibelius scholar Kari Kilpeläinen points out that none of the earlier symphony scores carry the unnumbered heading "Symphonie", and asks: "Could he have omitted the number to prevent news of the now completed Eighth from spreading? Or did he not give the work a number at all, because he was not satisfied with it?" The composer's daughter Katarina spoke of the self-doubt that afflicted her father at this time, aggravated by the continuing expectations and fuss that surrounded the Eighth Symphony. "He wanted it to be better than the other symphonies. Finally it became a burden, even though so much of it had already been written down. In the end I don't know whether he would have accepted what he had written."Sibelius remained in Finland during the Winter War of 1939–40, despite offers of asylum in the United States. After the war ended in March 1940 he moved with his family to an apartment on Kammiokatu (later renamed Sibeliuksenkatu or 'Sibelius Street' in his honour) in the Töölö district of Helsinki, where they remained for a year. During that time they were visited by the pianist Martti Paavola, who was able to examine the contents of Sibelius's safe. Paavola later reported to his pupil Einar Englund that among the music kept there was a symphony, "most likely the Eighth".
Output: What is the name of Katarina's father?
Passage: Various reports appeared to confirm that the symphony's release was imminent. The Finnish composer Leevi Madetoja mentioned in 1934 that the work was virtually complete; an article by the Swedish journalist Kurt Nordfors indicated that two movements were complete and the rest sketched out. As pressure to produce the symphony increased, Sibelius became increasingly withdrawn and unwilling to discuss his progress. In December 1935, during an interview in connection with his 70th birthday celebrations, he indicated that he had discarded a whole year's work; this pointed to a full-scale revision of the Eighth. However, when The Times's correspondent asked for details of the work's progress Sibelius became irritated. He was furious when Downes continued to pester him for information, on one occasion shouting "Ich kann nicht!" ("I cannot!").A receipt found among Sibelius's papers refers to a "Symphonie" being bound by the firm of Weilin & Göös in August 1938. While it is not established that this transaction related to the Eighth, the Sibelius scholar Kari Kilpeläinen points out that none of the earlier symphony scores carry the unnumbered heading "Symphonie", and asks: "Could he have omitted the number to prevent news of the now completed Eighth from spreading? Or did he not give the work a number at all, because he was not satisfied with it?" The composer's daughter Katarina spoke of the self-doubt that afflicted her father at this time, aggravated by the continuing expectations and fuss that surrounded the Eighth Symphony. "He wanted it to be better than the other symphonies. Finally it became a burden, even though so much of it had already been written down. In the end I don't know whether he would have accepted what he had written."Sibelius remained in Finland during the Winter War of 1939–40, despite offers of asylum in the United States. After the war ended in March 1940 he moved with his family to an apartment on Kammiokatu (later renamed Sibeliuksenkatu or 'Sibelius Street' in his honour) in the Töölö district of Helsinki, where they remained for a year. During that time they were visited by the pianist Martti Paavola, who was able to examine the contents of Sibelius's safe. Paavola later reported to his pupil Einar Englund that among the music kept there was a symphony, "most likely the Eighth".
Output: What city did Sibelius move to after the Winter war?
Passage: Various reports appeared to confirm that the symphony's release was imminent. The Finnish composer Leevi Madetoja mentioned in 1934 that the work was virtually complete; an article by the Swedish journalist Kurt Nordfors indicated that two movements were complete and the rest sketched out. As pressure to produce the symphony increased, Sibelius became increasingly withdrawn and unwilling to discuss his progress. In December 1935, during an interview in connection with his 70th birthday celebrations, he indicated that he had discarded a whole year's work; this pointed to a full-scale revision of the Eighth. However, when The Times's correspondent asked for details of the work's progress Sibelius became irritated. He was furious when Downes continued to pester him for information, on one occasion shouting "Ich kann nicht!" ("I cannot!").A receipt found among Sibelius's papers refers to a "Symphonie" being bound by the firm of Weilin & Göös in August 1938. While it is not established that this transaction related to the Eighth, the Sibelius scholar Kari Kilpeläinen points out that none of the earlier symphony scores carry the unnumbered heading "Symphonie", and asks: "Could he have omitted the number to prevent news of the now completed Eighth from spreading? Or did he not give the work a number at all, because he was not satisfied with it?" The composer's daughter Katarina spoke of the self-doubt that afflicted her father at this time, aggravated by the continuing expectations and fuss that surrounded the Eighth Symphony. "He wanted it to be better than the other symphonies. Finally it became a burden, even though so much of it had already been written down. In the end I don't know whether he would have accepted what he had written."Sibelius remained in Finland during the Winter War of 1939–40, despite offers of asylum in the United States. After the war ended in March 1940 he moved with his family to an apartment on Kammiokatu (later renamed Sibeliuksenkatu or 'Sibelius Street' in his honour) in the Töölö district of Helsinki, where they remained for a year. During that time they were visited by the pianist Martti Paavola, who was able to examine the contents of Sibelius's safe. Paavola later reported to his pupil Einar Englund that among the music kept there was a symphony, "most likely the Eighth".
Output: What is the name of the person that Marti Paavola meet?
Passage: Various reports appeared to confirm that the symphony's release was imminent. The Finnish composer Leevi Madetoja mentioned in 1934 that the work was virtually complete; an article by the Swedish journalist Kurt Nordfors indicated that two movements were complete and the rest sketched out. As pressure to produce the symphony increased, Sibelius became increasingly withdrawn and unwilling to discuss his progress. In December 1935, during an interview in connection with his 70th birthday celebrations, he indicated that he had discarded a whole year's work; this pointed to a full-scale revision of the Eighth. However, when The Times's correspondent asked for details of the work's progress Sibelius became irritated. He was furious when Downes continued to pester him for information, on one occasion shouting "Ich kann nicht!" ("I cannot!").A receipt found among Sibelius's papers refers to a "Symphonie" being bound by the firm of Weilin & Göös in August 1938. While it is not established that this transaction related to the Eighth, the Sibelius scholar Kari Kilpeläinen points out that none of the earlier symphony scores carry the unnumbered heading "Symphonie", and asks: "Could he have omitted the number to prevent news of the now completed Eighth from spreading? Or did he not give the work a number at all, because he was not satisfied with it?" The composer's daughter Katarina spoke of the self-doubt that afflicted her father at this time, aggravated by the continuing expectations and fuss that surrounded the Eighth Symphony. "He wanted it to be better than the other symphonies. Finally it became a burden, even though so much of it had already been written down. In the end I don't know whether he would have accepted what he had written."Sibelius remained in Finland during the Winter War of 1939–40, despite offers of asylum in the United States. After the war ended in March 1940 he moved with his family to an apartment on Kammiokatu (later renamed Sibeliuksenkatu or 'Sibelius Street' in his honour) in the Töölö district of Helsinki, where they remained for a year. During that time they were visited by the pianist Martti Paavola, who was able to examine the contents of Sibelius's safe. Paavola later reported to his pupil Einar Englund that among the music kept there was a symphony, "most likely the Eighth".
Output: What was the name of the person celebrating their 70th birthday?
Passage: Various reports appeared to confirm that the symphony's release was imminent. The Finnish composer Leevi Madetoja mentioned in 1934 that the work was virtually complete; an article by the Swedish journalist Kurt Nordfors indicated that two movements were complete and the rest sketched out. As pressure to produce the symphony increased, Sibelius became increasingly withdrawn and unwilling to discuss his progress. In December 1935, during an interview in connection with his 70th birthday celebrations, he indicated that he had discarded a whole year's work; this pointed to a full-scale revision of the Eighth. However, when The Times's correspondent asked for details of the work's progress Sibelius became irritated. He was furious when Downes continued to pester him for information, on one occasion shouting "Ich kann nicht!" ("I cannot!").A receipt found among Sibelius's papers refers to a "Symphonie" being bound by the firm of Weilin & Göös in August 1938. While it is not established that this transaction related to the Eighth, the Sibelius scholar Kari Kilpeläinen points out that none of the earlier symphony scores carry the unnumbered heading "Symphonie", and asks: "Could he have omitted the number to prevent news of the now completed Eighth from spreading? Or did he not give the work a number at all, because he was not satisfied with it?" The composer's daughter Katarina spoke of the self-doubt that afflicted her father at this time, aggravated by the continuing expectations and fuss that surrounded the Eighth Symphony. "He wanted it to be better than the other symphonies. Finally it became a burden, even though so much of it had already been written down. In the end I don't know whether he would have accepted what he had written."Sibelius remained in Finland during the Winter War of 1939–40, despite offers of asylum in the United States. After the war ended in March 1940 he moved with his family to an apartment on Kammiokatu (later renamed Sibeliuksenkatu or 'Sibelius Street' in his honour) in the Töölö district of Helsinki, where they remained for a year. During that time they were visited by the pianist Martti Paavola, who was able to examine the contents of Sibelius's safe. Paavola later reported to his pupil Einar Englund that among the music kept there was a symphony, "most likely the Eighth".
Output: What was the name of the person that discarded a whole year's work?
Passage: Various reports appeared to confirm that the symphony's release was imminent. The Finnish composer Leevi Madetoja mentioned in 1934 that the work was virtually complete; an article by the Swedish journalist Kurt Nordfors indicated that two movements were complete and the rest sketched out. As pressure to produce the symphony increased, Sibelius became increasingly withdrawn and unwilling to discuss his progress. In December 1935, during an interview in connection with his 70th birthday celebrations, he indicated that he had discarded a whole year's work; this pointed to a full-scale revision of the Eighth. However, when The Times's correspondent asked for details of the work's progress Sibelius became irritated. He was furious when Downes continued to pester him for information, on one occasion shouting "Ich kann nicht!" ("I cannot!").A receipt found among Sibelius's papers refers to a "Symphonie" being bound by the firm of Weilin & Göös in August 1938. While it is not established that this transaction related to the Eighth, the Sibelius scholar Kari Kilpeläinen points out that none of the earlier symphony scores carry the unnumbered heading "Symphonie", and asks: "Could he have omitted the number to prevent news of the now completed Eighth from spreading? Or did he not give the work a number at all, because he was not satisfied with it?" The composer's daughter Katarina spoke of the self-doubt that afflicted her father at this time, aggravated by the continuing expectations and fuss that surrounded the Eighth Symphony. "He wanted it to be better than the other symphonies. Finally it became a burden, even though so much of it had already been written down. In the end I don't know whether he would have accepted what he had written."Sibelius remained in Finland during the Winter War of 1939–40, despite offers of asylum in the United States. After the war ended in March 1940 he moved with his family to an apartment on Kammiokatu (later renamed Sibeliuksenkatu or 'Sibelius Street' in his honour) in the Töölö district of Helsinki, where they remained for a year. During that time they were visited by the pianist Martti Paavola, who was able to examine the contents of Sibelius's safe. Paavola later reported to his pupil Einar Englund that among the music kept there was a symphony, "most likely the Eighth".
Output: What is the name of the person that had a daughter named Katarina?
Passage: Various reports appeared to confirm that the symphony's release was imminent. The Finnish composer Leevi Madetoja mentioned in 1934 that the work was virtually complete; an article by the Swedish journalist Kurt Nordfors indicated that two movements were complete and the rest sketched out. As pressure to produce the symphony increased, Sibelius became increasingly withdrawn and unwilling to discuss his progress. In December 1935, during an interview in connection with his 70th birthday celebrations, he indicated that he had discarded a whole year's work; this pointed to a full-scale revision of the Eighth. However, when The Times's correspondent asked for details of the work's progress Sibelius became irritated. He was furious when Downes continued to pester him for information, on one occasion shouting "Ich kann nicht!" ("I cannot!").A receipt found among Sibelius's papers refers to a "Symphonie" being bound by the firm of Weilin & Göös in August 1938. While it is not established that this transaction related to the Eighth, the Sibelius scholar Kari Kilpeläinen points out that none of the earlier symphony scores carry the unnumbered heading "Symphonie", and asks: "Could he have omitted the number to prevent news of the now completed Eighth from spreading? Or did he not give the work a number at all, because he was not satisfied with it?" The composer's daughter Katarina spoke of the self-doubt that afflicted her father at this time, aggravated by the continuing expectations and fuss that surrounded the Eighth Symphony. "He wanted it to be better than the other symphonies. Finally it became a burden, even though so much of it had already been written down. In the end I don't know whether he would have accepted what he had written."Sibelius remained in Finland during the Winter War of 1939–40, despite offers of asylum in the United States. After the war ended in March 1940 he moved with his family to an apartment on Kammiokatu (later renamed Sibeliuksenkatu or 'Sibelius Street' in his honour) in the Töölö district of Helsinki, where they remained for a year. During that time they were visited by the pianist Martti Paavola, who was able to examine the contents of Sibelius's safe. Paavola later reported to his pupil Einar Englund that among the music kept there was a symphony, "most likely the Eighth".
Output: What is the name of the person that was composing the Eighth Symphony?