niryuu/sni-each-converted huggingface dataset:
Passage: Martin Luther King Jr. was held in the Birmingham jail and was denied a consultation with an attorney from the NAACP without guards present. When historian Jonathan Bass wrote of the incident in 2001, he noted that news of King's incarceration was spread quickly by Wyatt Tee Walker, as planned.  King's supporters sent telegrams about his arrest to the White House. He could have been released on bail at any time, and jail administrators wished him to be released as soon as possible to avoid the media attention while King was in custody.  However, campaign organizers offered no bail in order "to focus the attention of the media and national public opinion on the Birmingham situation".Twenty-four hours after his arrest, King was allowed to see local attorneys from the SCLC. When Coretta Scott King did not hear from her husband, she called Walker and he suggested that she call President Kennedy directly. Mrs. King was recuperating at home after the birth of their fourth child when she received a call from President Kennedy the Monday after the arrest. The president told her she could expect a call from her husband soon. When Martin Luther King Jr. called his wife, their conversation was brief and guarded; he correctly assumed that his phones were tapped. Several days later, Jacqueline Kennedy called Coretta Scott King to express her concern for King while he was incarcerated.Using scraps of paper given to him by a janitor, notes written on the margins of a newspaper, and later a legal pad given to him by SCLC attorneys, King wrote his essay "Letter from Birmingham Jail". It responded to eight politically moderate white clergymen who accused King of agitating local residents and not giving the incoming mayor a chance to make any changes. Bass suggested that "Letter from Birmingham Jail" was pre-planned, as was every move King and his associates made in Birmingham. The essay was a culmination of many of King's ideas, which he had touched on in earlier writings. King's arrest attracted national attention, including that of corporate officers of retail chains with stores in downtown Birmingham. After King's arrest, the chains' profits began to erode. National business owners pressed the Kennedy administration to intervene. King was released on April 20, 1963.
Output: What is the last name of the person who was given scraps of paper by a janitor?
Passage: Martin Luther King Jr. was held in the Birmingham jail and was denied a consultation with an attorney from the NAACP without guards present. When historian Jonathan Bass wrote of the incident in 2001, he noted that news of King's incarceration was spread quickly by Wyatt Tee Walker, as planned.  King's supporters sent telegrams about his arrest to the White House. He could have been released on bail at any time, and jail administrators wished him to be released as soon as possible to avoid the media attention while King was in custody.  However, campaign organizers offered no bail in order "to focus the attention of the media and national public opinion on the Birmingham situation".Twenty-four hours after his arrest, King was allowed to see local attorneys from the SCLC. When Coretta Scott King did not hear from her husband, she called Walker and he suggested that she call President Kennedy directly. Mrs. King was recuperating at home after the birth of their fourth child when she received a call from President Kennedy the Monday after the arrest. The president told her she could expect a call from her husband soon. When Martin Luther King Jr. called his wife, their conversation was brief and guarded; he correctly assumed that his phones were tapped. Several days later, Jacqueline Kennedy called Coretta Scott King to express her concern for King while he was incarcerated.Using scraps of paper given to him by a janitor, notes written on the margins of a newspaper, and later a legal pad given to him by SCLC attorneys, King wrote his essay "Letter from Birmingham Jail". It responded to eight politically moderate white clergymen who accused King of agitating local residents and not giving the incoming mayor a chance to make any changes. Bass suggested that "Letter from Birmingham Jail" was pre-planned, as was every move King and his associates made in Birmingham. The essay was a culmination of many of King's ideas, which he had touched on in earlier writings. King's arrest attracted national attention, including that of corporate officers of retail chains with stores in downtown Birmingham. After King's arrest, the chains' profits began to erode. National business owners pressed the Kennedy administration to intervene. King was released on April 20, 1963.
Output: What responded to eight politically moderate white clergymen?
Passage: Martin Luther King Jr. was held in the Birmingham jail and was denied a consultation with an attorney from the NAACP without guards present. When historian Jonathan Bass wrote of the incident in 2001, he noted that news of King's incarceration was spread quickly by Wyatt Tee Walker, as planned.  King's supporters sent telegrams about his arrest to the White House. He could have been released on bail at any time, and jail administrators wished him to be released as soon as possible to avoid the media attention while King was in custody.  However, campaign organizers offered no bail in order "to focus the attention of the media and national public opinion on the Birmingham situation".Twenty-four hours after his arrest, King was allowed to see local attorneys from the SCLC. When Coretta Scott King did not hear from her husband, she called Walker and he suggested that she call President Kennedy directly. Mrs. King was recuperating at home after the birth of their fourth child when she received a call from President Kennedy the Monday after the arrest. The president told her she could expect a call from her husband soon. When Martin Luther King Jr. called his wife, their conversation was brief and guarded; he correctly assumed that his phones were tapped. Several days later, Jacqueline Kennedy called Coretta Scott King to express her concern for King while he was incarcerated.Using scraps of paper given to him by a janitor, notes written on the margins of a newspaper, and later a legal pad given to him by SCLC attorneys, King wrote his essay "Letter from Birmingham Jail". It responded to eight politically moderate white clergymen who accused King of agitating local residents and not giving the incoming mayor a chance to make any changes. Bass suggested that "Letter from Birmingham Jail" was pre-planned, as was every move King and his associates made in Birmingham. The essay was a culmination of many of King's ideas, which he had touched on in earlier writings. King's arrest attracted national attention, including that of corporate officers of retail chains with stores in downtown Birmingham. After King's arrest, the chains' profits began to erode. National business owners pressed the Kennedy administration to intervene. King was released on April 20, 1963.
Output: What is the last name of the person who had touched on similar ideas to "Letter from Birmingham Jail" in early writings?
Passage: Martin Luther King Jr. was held in the Birmingham jail and was denied a consultation with an attorney from the NAACP without guards present. When historian Jonathan Bass wrote of the incident in 2001, he noted that news of King's incarceration was spread quickly by Wyatt Tee Walker, as planned.  King's supporters sent telegrams about his arrest to the White House. He could have been released on bail at any time, and jail administrators wished him to be released as soon as possible to avoid the media attention while King was in custody.  However, campaign organizers offered no bail in order "to focus the attention of the media and national public opinion on the Birmingham situation".Twenty-four hours after his arrest, King was allowed to see local attorneys from the SCLC. When Coretta Scott King did not hear from her husband, she called Walker and he suggested that she call President Kennedy directly. Mrs. King was recuperating at home after the birth of their fourth child when she received a call from President Kennedy the Monday after the arrest. The president told her she could expect a call from her husband soon. When Martin Luther King Jr. called his wife, their conversation was brief and guarded; he correctly assumed that his phones were tapped. Several days later, Jacqueline Kennedy called Coretta Scott King to express her concern for King while he was incarcerated.Using scraps of paper given to him by a janitor, notes written on the margins of a newspaper, and later a legal pad given to him by SCLC attorneys, King wrote his essay "Letter from Birmingham Jail". It responded to eight politically moderate white clergymen who accused King of agitating local residents and not giving the incoming mayor a chance to make any changes. Bass suggested that "Letter from Birmingham Jail" was pre-planned, as was every move King and his associates made in Birmingham. The essay was a culmination of many of King's ideas, which he had touched on in earlier writings. King's arrest attracted national attention, including that of corporate officers of retail chains with stores in downtown Birmingham. After King's arrest, the chains' profits began to erode. National business owners pressed the Kennedy administration to intervene. King was released on April 20, 1963.
Output: What is the full name of the person who noted that news of someone's incarceration was spread quickly by another, as planned?
Passage: Late one night at the Russell Square station in the London Underground, university students Patricia and her American exchange student boyfriend Alex find an unconscious man collapsed on the stairwell. Fearing the man may be diabetic, Patricia checks his wallet and finds a card that reads James Manfred, OBE. Alex and Patricia inform a police officer about Manfred, Alex and the officer return to the stairwell to Alex's surprise find that Manfred has vanished. Inspector Calhoun is assigned to look into the disappearance. Calhoun antagonistically questions Alex, who asserts the man was a drunk, and suggests he and Patricia robbed the man.
While discussing the case of the missing Manfred, Calhoun's colleague tells him about the history of the London Underground, particularly the Victorian railway workers who constructed the tunnels under dire conditions, and an urban legend that a group of descendants who survived an 1892 cave-in still live below ground in an abandoned section of the tunnels. Meanwhile, one of the last surviving members of a family of these railway workers watches his female companion die; they have survived in the underground by resorting to cannibalism of the railway patrons. In an empty chamber, Manfred's body lies, mutilated. The man laments the woman's death, as he is now left in complete solitude. The man goes into a rage and brutally murders three Underground maintenance workers in, taking one to his lair.
Calhoun remains suspicious of Alex and Patricia, and calls Alex in for repeated interrogations. After seeing a film one night, Alex and Patricia take a train home and get off at Holborn station. While de-boarding, Patricia realizes she forgot her textbooks on the train. Alex attempts to retrieve them, but the doors close before he can exit; just as the train leaves, Patricia yells through the window that she will meet him at home. Once the train exits the platform, Patricia is attacked by the cannibal man and incapacitated.
Output: What is the first name of the person who has an American boyfriend?
Passage: Late one night at the Russell Square station in the London Underground, university students Patricia and her American exchange student boyfriend Alex find an unconscious man collapsed on the stairwell. Fearing the man may be diabetic, Patricia checks his wallet and finds a card that reads James Manfred, OBE. Alex and Patricia inform a police officer about Manfred, Alex and the officer return to the stairwell to Alex's surprise find that Manfred has vanished. Inspector Calhoun is assigned to look into the disappearance. Calhoun antagonistically questions Alex, who asserts the man was a drunk, and suggests he and Patricia robbed the man.
While discussing the case of the missing Manfred, Calhoun's colleague tells him about the history of the London Underground, particularly the Victorian railway workers who constructed the tunnels under dire conditions, and an urban legend that a group of descendants who survived an 1892 cave-in still live below ground in an abandoned section of the tunnels. Meanwhile, one of the last surviving members of a family of these railway workers watches his female companion die; they have survived in the underground by resorting to cannibalism of the railway patrons. In an empty chamber, Manfred's body lies, mutilated. The man laments the woman's death, as he is now left in complete solitude. The man goes into a rage and brutally murders three Underground maintenance workers in, taking one to his lair.
Calhoun remains suspicious of Alex and Patricia, and calls Alex in for repeated interrogations. After seeing a film one night, Alex and Patricia take a train home and get off at Holborn station. While de-boarding, Patricia realizes she forgot her textbooks on the train. Alex attempts to retrieve them, but the doors close before he can exit; just as the train leaves, Patricia yells through the window that she will meet him at home. Once the train exits the platform, Patricia is attacked by the cannibal man and incapacitated.
Output: What is the first name of the person that left books on the train?
Passage: Late one night at the Russell Square station in the London Underground, university students Patricia and her American exchange student boyfriend Alex find an unconscious man collapsed on the stairwell. Fearing the man may be diabetic, Patricia checks his wallet and finds a card that reads James Manfred, OBE. Alex and Patricia inform a police officer about Manfred, Alex and the officer return to the stairwell to Alex's surprise find that Manfred has vanished. Inspector Calhoun is assigned to look into the disappearance. Calhoun antagonistically questions Alex, who asserts the man was a drunk, and suggests he and Patricia robbed the man.
While discussing the case of the missing Manfred, Calhoun's colleague tells him about the history of the London Underground, particularly the Victorian railway workers who constructed the tunnels under dire conditions, and an urban legend that a group of descendants who survived an 1892 cave-in still live below ground in an abandoned section of the tunnels. Meanwhile, one of the last surviving members of a family of these railway workers watches his female companion die; they have survived in the underground by resorting to cannibalism of the railway patrons. In an empty chamber, Manfred's body lies, mutilated. The man laments the woman's death, as he is now left in complete solitude. The man goes into a rage and brutally murders three Underground maintenance workers in, taking one to his lair.
Calhoun remains suspicious of Alex and Patricia, and calls Alex in for repeated interrogations. After seeing a film one night, Alex and Patricia take a train home and get off at Holborn station. While de-boarding, Patricia realizes she forgot her textbooks on the train. Alex attempts to retrieve them, but the doors close before he can exit; just as the train leaves, Patricia yells through the window that she will meet him at home. Once the train exits the platform, Patricia is attacked by the cannibal man and incapacitated.
Output: What did Alex try to retrieve on the train?
Passage: Late one night at the Russell Square station in the London Underground, university students Patricia and her American exchange student boyfriend Alex find an unconscious man collapsed on the stairwell. Fearing the man may be diabetic, Patricia checks his wallet and finds a card that reads James Manfred, OBE. Alex and Patricia inform a police officer about Manfred, Alex and the officer return to the stairwell to Alex's surprise find that Manfred has vanished. Inspector Calhoun is assigned to look into the disappearance. Calhoun antagonistically questions Alex, who asserts the man was a drunk, and suggests he and Patricia robbed the man.
While discussing the case of the missing Manfred, Calhoun's colleague tells him about the history of the London Underground, particularly the Victorian railway workers who constructed the tunnels under dire conditions, and an urban legend that a group of descendants who survived an 1892 cave-in still live below ground in an abandoned section of the tunnels. Meanwhile, one of the last surviving members of a family of these railway workers watches his female companion die; they have survived in the underground by resorting to cannibalism of the railway patrons. In an empty chamber, Manfred's body lies, mutilated. The man laments the woman's death, as he is now left in complete solitude. The man goes into a rage and brutally murders three Underground maintenance workers in, taking one to his lair.
Calhoun remains suspicious of Alex and Patricia, and calls Alex in for repeated interrogations. After seeing a film one night, Alex and Patricia take a train home and get off at Holborn station. While de-boarding, Patricia realizes she forgot her textbooks on the train. Alex attempts to retrieve them, but the doors close before he can exit; just as the train leaves, Patricia yells through the window that she will meet him at home. Once the train exits the platform, Patricia is attacked by the cannibal man and incapacitated.
Output: What is the first name of the person that Patricia yells to?
Passage: Orenstein and Zank both comment that, although Ravel's post-war output was small, averaging only one composition a year, it included some of his finest works. In 1920 he completed La valse, in response to a commission from Diaghilev. He had worked on it intermittently for some years, planning a concert piece, "a sort of apotheosis of the Viennese waltz, mingled with, in my mind, the impression of a fantastic, fatal whirling". It was rejected by Diaghilev, who said, "It's a masterpiece, but it's not a ballet. It's the portrait of a ballet". Ravel heard Diaghilev's verdict without protest or argument, left, and had no further dealings with him. Nichols comments that Ravel had the satisfaction of seeing the ballet staged twice by other managements before Diaghilev died. A ballet danced to the orchestral version of Le tombeau de Couperin was given at the Théâtre des Champs-Elysées in November 1920, and the premiere of La valse followed in December. The following year Daphnis et Chloé and  L'heure espagnole were successfully revived at the Paris Opéra.In the post-war era there was a reaction against the large-scale music of composers such as Gustav Mahler and Richard Strauss. Stravinsky, whose Rite of Spring was written for a huge orchestra, began to work on a much smaller scale. His 1923 ballet score Les noces is composed for voices and twenty-one instruments. Ravel did not like the work (his opinion caused a cooling in Stravinsky's friendship with him) but he was in sympathy with the fashion for "dépouillement" – the "stripping away" of pre-war extravagance to reveal the essentials. Many of his works from the 1920s are noticeably sparer in texture than earlier pieces. Other influences on him in this period were jazz and atonality. Jazz was popular in Parisian cafés, and French composers such as Darius Milhaud incorporated elements of it in their work. Ravel commented that he preferred jazz to grand opera, and its influence is heard in his later music. Arnold Schönberg's abandonment of conventional tonality also had echoes in some of Ravel's music such as the Chansons madécasses (1926), which Ravel doubted he could have written without the example of Pierrot Lunaire. His other major works from the 1920s include the orchestral arrangement of Mussorgsky's piano suite Pictures at an Exhibition (1922), the opera L'enfant et les sortilèges to a libretto by Colette (1926), Tzigane (1924) and the Violin Sonata (1927).Finding city life fatiguing, Ravel moved to the countryside. In May 1921 he took up residence at Le Belvédère, a small house on the fringe of Montfort-l'Amaury, 88 kilometres (55 mi) west of Paris, in the Yvelines département. Looked after by a devoted housekeeper, Mme Revelot, he lived there for the rest of his life. At Le Belvédère Ravel composed and gardened, when not performing in Paris or abroad. His touring schedule increased considerably in the 1920s, with concerts in Britain, Sweden, Denmark, the US, Canada, Spain, Austria and Italy.
Output: Whose ballet score Les Noces is composed for voices and twenty-one instruments?
Passage: Orenstein and Zank both comment that, although Ravel's post-war output was small, averaging only one composition a year, it included some of his finest works. In 1920 he completed La valse, in response to a commission from Diaghilev. He had worked on it intermittently for some years, planning a concert piece, "a sort of apotheosis of the Viennese waltz, mingled with, in my mind, the impression of a fantastic, fatal whirling". It was rejected by Diaghilev, who said, "It's a masterpiece, but it's not a ballet. It's the portrait of a ballet". Ravel heard Diaghilev's verdict without protest or argument, left, and had no further dealings with him. Nichols comments that Ravel had the satisfaction of seeing the ballet staged twice by other managements before Diaghilev died. A ballet danced to the orchestral version of Le tombeau de Couperin was given at the Théâtre des Champs-Elysées in November 1920, and the premiere of La valse followed in December. The following year Daphnis et Chloé and  L'heure espagnole were successfully revived at the Paris Opéra.In the post-war era there was a reaction against the large-scale music of composers such as Gustav Mahler and Richard Strauss. Stravinsky, whose Rite of Spring was written for a huge orchestra, began to work on a much smaller scale. His 1923 ballet score Les noces is composed for voices and twenty-one instruments. Ravel did not like the work (his opinion caused a cooling in Stravinsky's friendship with him) but he was in sympathy with the fashion for "dépouillement" – the "stripping away" of pre-war extravagance to reveal the essentials. Many of his works from the 1920s are noticeably sparer in texture than earlier pieces. Other influences on him in this period were jazz and atonality. Jazz was popular in Parisian cafés, and French composers such as Darius Milhaud incorporated elements of it in their work. Ravel commented that he preferred jazz to grand opera, and its influence is heard in his later music. Arnold Schönberg's abandonment of conventional tonality also had echoes in some of Ravel's music such as the Chansons madécasses (1926), which Ravel doubted he could have written without the example of Pierrot Lunaire. His other major works from the 1920s include the orchestral arrangement of Mussorgsky's piano suite Pictures at an Exhibition (1922), the opera L'enfant et les sortilèges to a libretto by Colette (1926), Tzigane (1924) and the Violin Sonata (1927).Finding city life fatiguing, Ravel moved to the countryside. In May 1921 he took up residence at Le Belvédère, a small house on the fringe of Montfort-l'Amaury, 88 kilometres (55 mi) west of Paris, in the Yvelines département. Looked after by a devoted housekeeper, Mme Revelot, he lived there for the rest of his life. At Le Belvédère Ravel composed and gardened, when not performing in Paris or abroad. His touring schedule increased considerably in the 1920s, with concerts in Britain, Sweden, Denmark, the US, Canada, Spain, Austria and Italy.
Output: What is the name of the house that the composer who's work pace slowed after 1920 take up residence in 1921?
Passage: Orenstein and Zank both comment that, although Ravel's post-war output was small, averaging only one composition a year, it included some of his finest works. In 1920 he completed La valse, in response to a commission from Diaghilev. He had worked on it intermittently for some years, planning a concert piece, "a sort of apotheosis of the Viennese waltz, mingled with, in my mind, the impression of a fantastic, fatal whirling". It was rejected by Diaghilev, who said, "It's a masterpiece, but it's not a ballet. It's the portrait of a ballet". Ravel heard Diaghilev's verdict without protest or argument, left, and had no further dealings with him. Nichols comments that Ravel had the satisfaction of seeing the ballet staged twice by other managements before Diaghilev died. A ballet danced to the orchestral version of Le tombeau de Couperin was given at the Théâtre des Champs-Elysées in November 1920, and the premiere of La valse followed in December. The following year Daphnis et Chloé and  L'heure espagnole were successfully revived at the Paris Opéra.In the post-war era there was a reaction against the large-scale music of composers such as Gustav Mahler and Richard Strauss. Stravinsky, whose Rite of Spring was written for a huge orchestra, began to work on a much smaller scale. His 1923 ballet score Les noces is composed for voices and twenty-one instruments. Ravel did not like the work (his opinion caused a cooling in Stravinsky's friendship with him) but he was in sympathy with the fashion for "dépouillement" – the "stripping away" of pre-war extravagance to reveal the essentials. Many of his works from the 1920s are noticeably sparer in texture than earlier pieces. Other influences on him in this period were jazz and atonality. Jazz was popular in Parisian cafés, and French composers such as Darius Milhaud incorporated elements of it in their work. Ravel commented that he preferred jazz to grand opera, and its influence is heard in his later music. Arnold Schönberg's abandonment of conventional tonality also had echoes in some of Ravel's music such as the Chansons madécasses (1926), which Ravel doubted he could have written without the example of Pierrot Lunaire. His other major works from the 1920s include the orchestral arrangement of Mussorgsky's piano suite Pictures at an Exhibition (1922), the opera L'enfant et les sortilèges to a libretto by Colette (1926), Tzigane (1924) and the Violin Sonata (1927).Finding city life fatiguing, Ravel moved to the countryside. In May 1921 he took up residence at Le Belvédère, a small house on the fringe of Montfort-l'Amaury, 88 kilometres (55 mi) west of Paris, in the Yvelines département. Looked after by a devoted housekeeper, Mme Revelot, he lived there for the rest of his life. At Le Belvédère Ravel composed and gardened, when not performing in Paris or abroad. His touring schedule increased considerably in the 1920s, with concerts in Britain, Sweden, Denmark, the US, Canada, Spain, Austria and Italy.
Output: What is the full name of the person that looked after the house the fringe of Montfort-l'Amaury?
Passage: Orenstein and Zank both comment that, although Ravel's post-war output was small, averaging only one composition a year, it included some of his finest works. In 1920 he completed La valse, in response to a commission from Diaghilev. He had worked on it intermittently for some years, planning a concert piece, "a sort of apotheosis of the Viennese waltz, mingled with, in my mind, the impression of a fantastic, fatal whirling". It was rejected by Diaghilev, who said, "It's a masterpiece, but it's not a ballet. It's the portrait of a ballet". Ravel heard Diaghilev's verdict without protest or argument, left, and had no further dealings with him. Nichols comments that Ravel had the satisfaction of seeing the ballet staged twice by other managements before Diaghilev died. A ballet danced to the orchestral version of Le tombeau de Couperin was given at the Théâtre des Champs-Elysées in November 1920, and the premiere of La valse followed in December. The following year Daphnis et Chloé and  L'heure espagnole were successfully revived at the Paris Opéra.In the post-war era there was a reaction against the large-scale music of composers such as Gustav Mahler and Richard Strauss. Stravinsky, whose Rite of Spring was written for a huge orchestra, began to work on a much smaller scale. His 1923 ballet score Les noces is composed for voices and twenty-one instruments. Ravel did not like the work (his opinion caused a cooling in Stravinsky's friendship with him) but he was in sympathy with the fashion for "dépouillement" – the "stripping away" of pre-war extravagance to reveal the essentials. Many of his works from the 1920s are noticeably sparer in texture than earlier pieces. Other influences on him in this period were jazz and atonality. Jazz was popular in Parisian cafés, and French composers such as Darius Milhaud incorporated elements of it in their work. Ravel commented that he preferred jazz to grand opera, and its influence is heard in his later music. Arnold Schönberg's abandonment of conventional tonality also had echoes in some of Ravel's music such as the Chansons madécasses (1926), which Ravel doubted he could have written without the example of Pierrot Lunaire. His other major works from the 1920s include the orchestral arrangement of Mussorgsky's piano suite Pictures at an Exhibition (1922), the opera L'enfant et les sortilèges to a libretto by Colette (1926), Tzigane (1924) and the Violin Sonata (1927).Finding city life fatiguing, Ravel moved to the countryside. In May 1921 he took up residence at Le Belvédère, a small house on the fringe of Montfort-l'Amaury, 88 kilometres (55 mi) west of Paris, in the Yvelines département. Looked after by a devoted housekeeper, Mme Revelot, he lived there for the rest of his life. At Le Belvédère Ravel composed and gardened, when not performing in Paris or abroad. His touring schedule increased considerably in the 1920s, with concerts in Britain, Sweden, Denmark, the US, Canada, Spain, Austria and Italy.
Output: What countries did the man who lived 88 kilometres west of Paris tour in the 1920s?
Passage: Orenstein and Zank both comment that, although Ravel's post-war output was small, averaging only one composition a year, it included some of his finest works. In 1920 he completed La valse, in response to a commission from Diaghilev. He had worked on it intermittently for some years, planning a concert piece, "a sort of apotheosis of the Viennese waltz, mingled with, in my mind, the impression of a fantastic, fatal whirling". It was rejected by Diaghilev, who said, "It's a masterpiece, but it's not a ballet. It's the portrait of a ballet". Ravel heard Diaghilev's verdict without protest or argument, left, and had no further dealings with him. Nichols comments that Ravel had the satisfaction of seeing the ballet staged twice by other managements before Diaghilev died. A ballet danced to the orchestral version of Le tombeau de Couperin was given at the Théâtre des Champs-Elysées in November 1920, and the premiere of La valse followed in December. The following year Daphnis et Chloé and  L'heure espagnole were successfully revived at the Paris Opéra.In the post-war era there was a reaction against the large-scale music of composers such as Gustav Mahler and Richard Strauss. Stravinsky, whose Rite of Spring was written for a huge orchestra, began to work on a much smaller scale. His 1923 ballet score Les noces is composed for voices and twenty-one instruments. Ravel did not like the work (his opinion caused a cooling in Stravinsky's friendship with him) but he was in sympathy with the fashion for "dépouillement" – the "stripping away" of pre-war extravagance to reveal the essentials. Many of his works from the 1920s are noticeably sparer in texture than earlier pieces. Other influences on him in this period were jazz and atonality. Jazz was popular in Parisian cafés, and French composers such as Darius Milhaud incorporated elements of it in their work. Ravel commented that he preferred jazz to grand opera, and its influence is heard in his later music. Arnold Schönberg's abandonment of conventional tonality also had echoes in some of Ravel's music such as the Chansons madécasses (1926), which Ravel doubted he could have written without the example of Pierrot Lunaire. His other major works from the 1920s include the orchestral arrangement of Mussorgsky's piano suite Pictures at an Exhibition (1922), the opera L'enfant et les sortilèges to a libretto by Colette (1926), Tzigane (1924) and the Violin Sonata (1927).Finding city life fatiguing, Ravel moved to the countryside. In May 1921 he took up residence at Le Belvédère, a small house on the fringe of Montfort-l'Amaury, 88 kilometres (55 mi) west of Paris, in the Yvelines département. Looked after by a devoted housekeeper, Mme Revelot, he lived there for the rest of his life. At Le Belvédère Ravel composed and gardened, when not performing in Paris or abroad. His touring schedule increased considerably in the 1920s, with concerts in Britain, Sweden, Denmark, the US, Canada, Spain, Austria and Italy.
Output: What major city was the house the composer who's works in the 1920s were noticeably sparer in texture moved into in 1921 88 kilometres west of?
Passage: Orenstein and Zank both comment that, although Ravel's post-war output was small, averaging only one composition a year, it included some of his finest works. In 1920 he completed La valse, in response to a commission from Diaghilev. He had worked on it intermittently for some years, planning a concert piece, "a sort of apotheosis of the Viennese waltz, mingled with, in my mind, the impression of a fantastic, fatal whirling". It was rejected by Diaghilev, who said, "It's a masterpiece, but it's not a ballet. It's the portrait of a ballet". Ravel heard Diaghilev's verdict without protest or argument, left, and had no further dealings with him. Nichols comments that Ravel had the satisfaction of seeing the ballet staged twice by other managements before Diaghilev died. A ballet danced to the orchestral version of Le tombeau de Couperin was given at the Théâtre des Champs-Elysées in November 1920, and the premiere of La valse followed in December. The following year Daphnis et Chloé and  L'heure espagnole were successfully revived at the Paris Opéra.In the post-war era there was a reaction against the large-scale music of composers such as Gustav Mahler and Richard Strauss. Stravinsky, whose Rite of Spring was written for a huge orchestra, began to work on a much smaller scale. His 1923 ballet score Les noces is composed for voices and twenty-one instruments. Ravel did not like the work (his opinion caused a cooling in Stravinsky's friendship with him) but he was in sympathy with the fashion for "dépouillement" – the "stripping away" of pre-war extravagance to reveal the essentials. Many of his works from the 1920s are noticeably sparer in texture than earlier pieces. Other influences on him in this period were jazz and atonality. Jazz was popular in Parisian cafés, and French composers such as Darius Milhaud incorporated elements of it in their work. Ravel commented that he preferred jazz to grand opera, and its influence is heard in his later music. Arnold Schönberg's abandonment of conventional tonality also had echoes in some of Ravel's music such as the Chansons madécasses (1926), which Ravel doubted he could have written without the example of Pierrot Lunaire. His other major works from the 1920s include the orchestral arrangement of Mussorgsky's piano suite Pictures at an Exhibition (1922), the opera L'enfant et les sortilèges to a libretto by Colette (1926), Tzigane (1924) and the Violin Sonata (1927).Finding city life fatiguing, Ravel moved to the countryside. In May 1921 he took up residence at Le Belvédère, a small house on the fringe of Montfort-l'Amaury, 88 kilometres (55 mi) west of Paris, in the Yvelines département. Looked after by a devoted housekeeper, Mme Revelot, he lived there for the rest of his life. At Le Belvédère Ravel composed and gardened, when not performing in Paris or abroad. His touring schedule increased considerably in the 1920s, with concerts in Britain, Sweden, Denmark, the US, Canada, Spain, Austria and Italy.
Output: Where did the man who averaged one piece a year garden while outside of Paris?
Passage: Orenstein and Zank both comment that, although Ravel's post-war output was small, averaging only one composition a year, it included some of his finest works. In 1920 he completed La valse, in response to a commission from Diaghilev. He had worked on it intermittently for some years, planning a concert piece, "a sort of apotheosis of the Viennese waltz, mingled with, in my mind, the impression of a fantastic, fatal whirling". It was rejected by Diaghilev, who said, "It's a masterpiece, but it's not a ballet. It's the portrait of a ballet". Ravel heard Diaghilev's verdict without protest or argument, left, and had no further dealings with him. Nichols comments that Ravel had the satisfaction of seeing the ballet staged twice by other managements before Diaghilev died. A ballet danced to the orchestral version of Le tombeau de Couperin was given at the Théâtre des Champs-Elysées in November 1920, and the premiere of La valse followed in December. The following year Daphnis et Chloé and  L'heure espagnole were successfully revived at the Paris Opéra.In the post-war era there was a reaction against the large-scale music of composers such as Gustav Mahler and Richard Strauss. Stravinsky, whose Rite of Spring was written for a huge orchestra, began to work on a much smaller scale. His 1923 ballet score Les noces is composed for voices and twenty-one instruments. Ravel did not like the work (his opinion caused a cooling in Stravinsky's friendship with him) but he was in sympathy with the fashion for "dépouillement" – the "stripping away" of pre-war extravagance to reveal the essentials. Many of his works from the 1920s are noticeably sparer in texture than earlier pieces. Other influences on him in this period were jazz and atonality. Jazz was popular in Parisian cafés, and French composers such as Darius Milhaud incorporated elements of it in their work. Ravel commented that he preferred jazz to grand opera, and its influence is heard in his later music. Arnold Schönberg's abandonment of conventional tonality also had echoes in some of Ravel's music such as the Chansons madécasses (1926), which Ravel doubted he could have written without the example of Pierrot Lunaire. His other major works from the 1920s include the orchestral arrangement of Mussorgsky's piano suite Pictures at an Exhibition (1922), the opera L'enfant et les sortilèges to a libretto by Colette (1926), Tzigane (1924) and the Violin Sonata (1927).Finding city life fatiguing, Ravel moved to the countryside. In May 1921 he took up residence at Le Belvédère, a small house on the fringe of Montfort-l'Amaury, 88 kilometres (55 mi) west of Paris, in the Yvelines département. Looked after by a devoted housekeeper, Mme Revelot, he lived there for the rest of his life. At Le Belvédère Ravel composed and gardened, when not performing in Paris or abroad. His touring schedule increased considerably in the 1920s, with concerts in Britain, Sweden, Denmark, the US, Canada, Spain, Austria and Italy.
Output: What countries did the man who created the ballet Les noces tour in the 1920s?
Passage: Orenstein and Zank both comment that, although Ravel's post-war output was small, averaging only one composition a year, it included some of his finest works. In 1920 he completed La valse, in response to a commission from Diaghilev. He had worked on it intermittently for some years, planning a concert piece, "a sort of apotheosis of the Viennese waltz, mingled with, in my mind, the impression of a fantastic, fatal whirling". It was rejected by Diaghilev, who said, "It's a masterpiece, but it's not a ballet. It's the portrait of a ballet". Ravel heard Diaghilev's verdict without protest or argument, left, and had no further dealings with him. Nichols comments that Ravel had the satisfaction of seeing the ballet staged twice by other managements before Diaghilev died. A ballet danced to the orchestral version of Le tombeau de Couperin was given at the Théâtre des Champs-Elysées in November 1920, and the premiere of La valse followed in December. The following year Daphnis et Chloé and  L'heure espagnole were successfully revived at the Paris Opéra.In the post-war era there was a reaction against the large-scale music of composers such as Gustav Mahler and Richard Strauss. Stravinsky, whose Rite of Spring was written for a huge orchestra, began to work on a much smaller scale. His 1923 ballet score Les noces is composed for voices and twenty-one instruments. Ravel did not like the work (his opinion caused a cooling in Stravinsky's friendship with him) but he was in sympathy with the fashion for "dépouillement" – the "stripping away" of pre-war extravagance to reveal the essentials. Many of his works from the 1920s are noticeably sparer in texture than earlier pieces. Other influences on him in this period were jazz and atonality. Jazz was popular in Parisian cafés, and French composers such as Darius Milhaud incorporated elements of it in their work. Ravel commented that he preferred jazz to grand opera, and its influence is heard in his later music. Arnold Schönberg's abandonment of conventional tonality also had echoes in some of Ravel's music such as the Chansons madécasses (1926), which Ravel doubted he could have written without the example of Pierrot Lunaire. His other major works from the 1920s include the orchestral arrangement of Mussorgsky's piano suite Pictures at an Exhibition (1922), the opera L'enfant et les sortilèges to a libretto by Colette (1926), Tzigane (1924) and the Violin Sonata (1927).Finding city life fatiguing, Ravel moved to the countryside. In May 1921 he took up residence at Le Belvédère, a small house on the fringe of Montfort-l'Amaury, 88 kilometres (55 mi) west of Paris, in the Yvelines département. Looked after by a devoted housekeeper, Mme Revelot, he lived there for the rest of his life. At Le Belvédère Ravel composed and gardened, when not performing in Paris or abroad. His touring schedule increased considerably in the 1920s, with concerts in Britain, Sweden, Denmark, the US, Canada, Spain, Austria and Italy.
Output: What is the last name of the housekeeper who looked after the man who premiered La valse?
Passage: Orenstein and Zank both comment that, although Ravel's post-war output was small, averaging only one composition a year, it included some of his finest works. In 1920 he completed La valse, in response to a commission from Diaghilev. He had worked on it intermittently for some years, planning a concert piece, "a sort of apotheosis of the Viennese waltz, mingled with, in my mind, the impression of a fantastic, fatal whirling". It was rejected by Diaghilev, who said, "It's a masterpiece, but it's not a ballet. It's the portrait of a ballet". Ravel heard Diaghilev's verdict without protest or argument, left, and had no further dealings with him. Nichols comments that Ravel had the satisfaction of seeing the ballet staged twice by other managements before Diaghilev died. A ballet danced to the orchestral version of Le tombeau de Couperin was given at the Théâtre des Champs-Elysées in November 1920, and the premiere of La valse followed in December. The following year Daphnis et Chloé and  L'heure espagnole were successfully revived at the Paris Opéra.In the post-war era there was a reaction against the large-scale music of composers such as Gustav Mahler and Richard Strauss. Stravinsky, whose Rite of Spring was written for a huge orchestra, began to work on a much smaller scale. His 1923 ballet score Les noces is composed for voices and twenty-one instruments. Ravel did not like the work (his opinion caused a cooling in Stravinsky's friendship with him) but he was in sympathy with the fashion for "dépouillement" – the "stripping away" of pre-war extravagance to reveal the essentials. Many of his works from the 1920s are noticeably sparer in texture than earlier pieces. Other influences on him in this period were jazz and atonality. Jazz was popular in Parisian cafés, and French composers such as Darius Milhaud incorporated elements of it in their work. Ravel commented that he preferred jazz to grand opera, and its influence is heard in his later music. Arnold Schönberg's abandonment of conventional tonality also had echoes in some of Ravel's music such as the Chansons madécasses (1926), which Ravel doubted he could have written without the example of Pierrot Lunaire. His other major works from the 1920s include the orchestral arrangement of Mussorgsky's piano suite Pictures at an Exhibition (1922), the opera L'enfant et les sortilèges to a libretto by Colette (1926), Tzigane (1924) and the Violin Sonata (1927).Finding city life fatiguing, Ravel moved to the countryside. In May 1921 he took up residence at Le Belvédère, a small house on the fringe of Montfort-l'Amaury, 88 kilometres (55 mi) west of Paris, in the Yvelines département. Looked after by a devoted housekeeper, Mme Revelot, he lived there for the rest of his life. At Le Belvédère Ravel composed and gardened, when not performing in Paris or abroad. His touring schedule increased considerably in the 1920s, with concerts in Britain, Sweden, Denmark, the US, Canada, Spain, Austria and Italy.
Output: What is the name of the 1922 work by the man who only averaged one composition a year after the war?
Passage: Orenstein and Zank both comment that, although Ravel's post-war output was small, averaging only one composition a year, it included some of his finest works. In 1920 he completed La valse, in response to a commission from Diaghilev. He had worked on it intermittently for some years, planning a concert piece, "a sort of apotheosis of the Viennese waltz, mingled with, in my mind, the impression of a fantastic, fatal whirling". It was rejected by Diaghilev, who said, "It's a masterpiece, but it's not a ballet. It's the portrait of a ballet". Ravel heard Diaghilev's verdict without protest or argument, left, and had no further dealings with him. Nichols comments that Ravel had the satisfaction of seeing the ballet staged twice by other managements before Diaghilev died. A ballet danced to the orchestral version of Le tombeau de Couperin was given at the Théâtre des Champs-Elysées in November 1920, and the premiere of La valse followed in December. The following year Daphnis et Chloé and  L'heure espagnole were successfully revived at the Paris Opéra.In the post-war era there was a reaction against the large-scale music of composers such as Gustav Mahler and Richard Strauss. Stravinsky, whose Rite of Spring was written for a huge orchestra, began to work on a much smaller scale. His 1923 ballet score Les noces is composed for voices and twenty-one instruments. Ravel did not like the work (his opinion caused a cooling in Stravinsky's friendship with him) but he was in sympathy with the fashion for "dépouillement" – the "stripping away" of pre-war extravagance to reveal the essentials. Many of his works from the 1920s are noticeably sparer in texture than earlier pieces. Other influences on him in this period were jazz and atonality. Jazz was popular in Parisian cafés, and French composers such as Darius Milhaud incorporated elements of it in their work. Ravel commented that he preferred jazz to grand opera, and its influence is heard in his later music. Arnold Schönberg's abandonment of conventional tonality also had echoes in some of Ravel's music such as the Chansons madécasses (1926), which Ravel doubted he could have written without the example of Pierrot Lunaire. His other major works from the 1920s include the orchestral arrangement of Mussorgsky's piano suite Pictures at an Exhibition (1922), the opera L'enfant et les sortilèges to a libretto by Colette (1926), Tzigane (1924) and the Violin Sonata (1927).Finding city life fatiguing, Ravel moved to the countryside. In May 1921 he took up residence at Le Belvédère, a small house on the fringe of Montfort-l'Amaury, 88 kilometres (55 mi) west of Paris, in the Yvelines département. Looked after by a devoted housekeeper, Mme Revelot, he lived there for the rest of his life. At Le Belvédère Ravel composed and gardened, when not performing in Paris or abroad. His touring schedule increased considerably in the 1920s, with concerts in Britain, Sweden, Denmark, the US, Canada, Spain, Austria and Italy.
Output: What was the name of the 1926 work by the man who completed La valse in 1920?