niryuu/sni-each-converted huggingface dataset:
Passage: The Symphony No. 8 in E-flat major by Gustav Mahler is one of the largest-scale choral works in the classical concert repertoire. Because it requires huge instrumental and vocal forces it is frequently called the "Symphony of a Thousand", although the work is normally presented with far fewer than a thousand performers and the composer did not sanction that name. The work was composed in a single inspired burst, at Maiernigg in southern Austria in the summer of 1906. The last of Mahler's works that was premiered in his lifetime, the symphony was a critical and popular success when he conducted the Munich Philharmonic in its first performance, in Munich, on 12 September 1910.
The fusion of song and symphony had been a characteristic of Mahler's early works. In his "middle" compositional period after 1901, a change of direction led him to produce three purely instrumental symphonies. The Eighth, marking the end of the middle period, returns to a combination of orchestra and voice in a symphonic context. The structure of the work is unconventional; instead of the normal framework of several movements, the piece is in two parts. Part I is based on the Latin text of a 9th-century Christian hymn for Pentecost, Veni creator spiritus ("Come, Creator Spirit"), and Part II is a setting of the words from the closing scene of Goethe's Faust. The two parts are unified by a common idea, that of redemption through the power of love, a unity conveyed through shared musical themes.
Mahler had been convinced from the start of the work's significance; in renouncing the pessimism that had marked much of his music, he offered the Eighth as an expression of confidence in the eternal human spirit. In the period following the composer's death, performances were comparatively rare. However, from the mid-20th century onwards the symphony has been heard regularly in concert halls all over the world, and has been recorded many times. While recognising its wide popularity, modern critics have divided opinions on the work; Theodor W. Adorno, Robert Simpson and Jonathan Carr found its optimism unconvincing, and considered it artistically and musically inferior to Mahler's other symphonies. Conversely, it has also been compared—by Deryck Cooke—to Ludwig van Beethoven's Symphony No. 9 as a defining human statement for its century.
Output: What is the last name of the person who did not sanction a nickname for his work?
Passage: The Symphony No. 8 in E-flat major by Gustav Mahler is one of the largest-scale choral works in the classical concert repertoire. Because it requires huge instrumental and vocal forces it is frequently called the "Symphony of a Thousand", although the work is normally presented with far fewer than a thousand performers and the composer did not sanction that name. The work was composed in a single inspired burst, at Maiernigg in southern Austria in the summer of 1906. The last of Mahler's works that was premiered in his lifetime, the symphony was a critical and popular success when he conducted the Munich Philharmonic in its first performance, in Munich, on 12 September 1910.
The fusion of song and symphony had been a characteristic of Mahler's early works. In his "middle" compositional period after 1901, a change of direction led him to produce three purely instrumental symphonies. The Eighth, marking the end of the middle period, returns to a combination of orchestra and voice in a symphonic context. The structure of the work is unconventional; instead of the normal framework of several movements, the piece is in two parts. Part I is based on the Latin text of a 9th-century Christian hymn for Pentecost, Veni creator spiritus ("Come, Creator Spirit"), and Part II is a setting of the words from the closing scene of Goethe's Faust. The two parts are unified by a common idea, that of redemption through the power of love, a unity conveyed through shared musical themes.
Mahler had been convinced from the start of the work's significance; in renouncing the pessimism that had marked much of his music, he offered the Eighth as an expression of confidence in the eternal human spirit. In the period following the composer's death, performances were comparatively rare. However, from the mid-20th century onwards the symphony has been heard regularly in concert halls all over the world, and has been recorded many times. While recognising its wide popularity, modern critics have divided opinions on the work; Theodor W. Adorno, Robert Simpson and Jonathan Carr found its optimism unconvincing, and considered it artistically and musically inferior to Mahler's other symphonies. Conversely, it has also been compared—by Deryck Cooke—to Ludwig van Beethoven's Symphony No. 9 as a defining human statement for its century.
Output: What is the nickname of the work that was the last premiered in Mahler's life?
Passage: The Symphony No. 8 in E-flat major by Gustav Mahler is one of the largest-scale choral works in the classical concert repertoire. Because it requires huge instrumental and vocal forces it is frequently called the "Symphony of a Thousand", although the work is normally presented with far fewer than a thousand performers and the composer did not sanction that name. The work was composed in a single inspired burst, at Maiernigg in southern Austria in the summer of 1906. The last of Mahler's works that was premiered in his lifetime, the symphony was a critical and popular success when he conducted the Munich Philharmonic in its first performance, in Munich, on 12 September 1910.
The fusion of song and symphony had been a characteristic of Mahler's early works. In his "middle" compositional period after 1901, a change of direction led him to produce three purely instrumental symphonies. The Eighth, marking the end of the middle period, returns to a combination of orchestra and voice in a symphonic context. The structure of the work is unconventional; instead of the normal framework of several movements, the piece is in two parts. Part I is based on the Latin text of a 9th-century Christian hymn for Pentecost, Veni creator spiritus ("Come, Creator Spirit"), and Part II is a setting of the words from the closing scene of Goethe's Faust. The two parts are unified by a common idea, that of redemption through the power of love, a unity conveyed through shared musical themes.
Mahler had been convinced from the start of the work's significance; in renouncing the pessimism that had marked much of his music, he offered the Eighth as an expression of confidence in the eternal human spirit. In the period following the composer's death, performances were comparatively rare. However, from the mid-20th century onwards the symphony has been heard regularly in concert halls all over the world, and has been recorded many times. While recognising its wide popularity, modern critics have divided opinions on the work; Theodor W. Adorno, Robert Simpson and Jonathan Carr found its optimism unconvincing, and considered it artistically and musically inferior to Mahler's other symphonies. Conversely, it has also been compared—by Deryck Cooke—to Ludwig van Beethoven's Symphony No. 9 as a defining human statement for its century.
Output: What is the real name of the work that was composed at Maiernigg?
Passage: The Symphony No. 8 in E-flat major by Gustav Mahler is one of the largest-scale choral works in the classical concert repertoire. Because it requires huge instrumental and vocal forces it is frequently called the "Symphony of a Thousand", although the work is normally presented with far fewer than a thousand performers and the composer did not sanction that name. The work was composed in a single inspired burst, at Maiernigg in southern Austria in the summer of 1906. The last of Mahler's works that was premiered in his lifetime, the symphony was a critical and popular success when he conducted the Munich Philharmonic in its first performance, in Munich, on 12 September 1910.
The fusion of song and symphony had been a characteristic of Mahler's early works. In his "middle" compositional period after 1901, a change of direction led him to produce three purely instrumental symphonies. The Eighth, marking the end of the middle period, returns to a combination of orchestra and voice in a symphonic context. The structure of the work is unconventional; instead of the normal framework of several movements, the piece is in two parts. Part I is based on the Latin text of a 9th-century Christian hymn for Pentecost, Veni creator spiritus ("Come, Creator Spirit"), and Part II is a setting of the words from the closing scene of Goethe's Faust. The two parts are unified by a common idea, that of redemption through the power of love, a unity conveyed through shared musical themes.
Mahler had been convinced from the start of the work's significance; in renouncing the pessimism that had marked much of his music, he offered the Eighth as an expression of confidence in the eternal human spirit. In the period following the composer's death, performances were comparatively rare. However, from the mid-20th century onwards the symphony has been heard regularly in concert halls all over the world, and has been recorded many times. While recognising its wide popularity, modern critics have divided opinions on the work; Theodor W. Adorno, Robert Simpson and Jonathan Carr found its optimism unconvincing, and considered it artistically and musically inferior to Mahler's other symphonies. Conversely, it has also been compared—by Deryck Cooke—to Ludwig van Beethoven's Symphony No. 9 as a defining human statement for its century.
Output: What is the real name of the work that was a critical and popular success when he conducted the Munich Philharmonic in its first performance?
Passage: The Symphony No. 8 in E-flat major by Gustav Mahler is one of the largest-scale choral works in the classical concert repertoire. Because it requires huge instrumental and vocal forces it is frequently called the "Symphony of a Thousand", although the work is normally presented with far fewer than a thousand performers and the composer did not sanction that name. The work was composed in a single inspired burst, at Maiernigg in southern Austria in the summer of 1906. The last of Mahler's works that was premiered in his lifetime, the symphony was a critical and popular success when he conducted the Munich Philharmonic in its first performance, in Munich, on 12 September 1910.
The fusion of song and symphony had been a characteristic of Mahler's early works. In his "middle" compositional period after 1901, a change of direction led him to produce three purely instrumental symphonies. The Eighth, marking the end of the middle period, returns to a combination of orchestra and voice in a symphonic context. The structure of the work is unconventional; instead of the normal framework of several movements, the piece is in two parts. Part I is based on the Latin text of a 9th-century Christian hymn for Pentecost, Veni creator spiritus ("Come, Creator Spirit"), and Part II is a setting of the words from the closing scene of Goethe's Faust. The two parts are unified by a common idea, that of redemption through the power of love, a unity conveyed through shared musical themes.
Mahler had been convinced from the start of the work's significance; in renouncing the pessimism that had marked much of his music, he offered the Eighth as an expression of confidence in the eternal human spirit. In the period following the composer's death, performances were comparatively rare. However, from the mid-20th century onwards the symphony has been heard regularly in concert halls all over the world, and has been recorded many times. While recognising its wide popularity, modern critics have divided opinions on the work; Theodor W. Adorno, Robert Simpson and Jonathan Carr found its optimism unconvincing, and considered it artistically and musically inferior to Mahler's other symphonies. Conversely, it has also been compared—by Deryck Cooke—to Ludwig van Beethoven's Symphony No. 9 as a defining human statement for its century.
Output: What is the last name of the person who conducted the Munich Philharmonic in Munich on September 12, 1910?
Passage: The Symphony No. 8 in E-flat major by Gustav Mahler is one of the largest-scale choral works in the classical concert repertoire. Because it requires huge instrumental and vocal forces it is frequently called the "Symphony of a Thousand", although the work is normally presented with far fewer than a thousand performers and the composer did not sanction that name. The work was composed in a single inspired burst, at Maiernigg in southern Austria in the summer of 1906. The last of Mahler's works that was premiered in his lifetime, the symphony was a critical and popular success when he conducted the Munich Philharmonic in its first performance, in Munich, on 12 September 1910.
The fusion of song and symphony had been a characteristic of Mahler's early works. In his "middle" compositional period after 1901, a change of direction led him to produce three purely instrumental symphonies. The Eighth, marking the end of the middle period, returns to a combination of orchestra and voice in a symphonic context. The structure of the work is unconventional; instead of the normal framework of several movements, the piece is in two parts. Part I is based on the Latin text of a 9th-century Christian hymn for Pentecost, Veni creator spiritus ("Come, Creator Spirit"), and Part II is a setting of the words from the closing scene of Goethe's Faust. The two parts are unified by a common idea, that of redemption through the power of love, a unity conveyed through shared musical themes.
Mahler had been convinced from the start of the work's significance; in renouncing the pessimism that had marked much of his music, he offered the Eighth as an expression of confidence in the eternal human spirit. In the period following the composer's death, performances were comparatively rare. However, from the mid-20th century onwards the symphony has been heard regularly in concert halls all over the world, and has been recorded many times. While recognising its wide popularity, modern critics have divided opinions on the work; Theodor W. Adorno, Robert Simpson and Jonathan Carr found its optimism unconvincing, and considered it artistically and musically inferior to Mahler's other symphonies. Conversely, it has also been compared—by Deryck Cooke—to Ludwig van Beethoven's Symphony No. 9 as a defining human statement for its century.
Output: What is the last name of the person whose "middle" compositional period was after 1901?
Passage: The Symphony No. 8 in E-flat major by Gustav Mahler is one of the largest-scale choral works in the classical concert repertoire. Because it requires huge instrumental and vocal forces it is frequently called the "Symphony of a Thousand", although the work is normally presented with far fewer than a thousand performers and the composer did not sanction that name. The work was composed in a single inspired burst, at Maiernigg in southern Austria in the summer of 1906. The last of Mahler's works that was premiered in his lifetime, the symphony was a critical and popular success when he conducted the Munich Philharmonic in its first performance, in Munich, on 12 September 1910.
The fusion of song and symphony had been a characteristic of Mahler's early works. In his "middle" compositional period after 1901, a change of direction led him to produce three purely instrumental symphonies. The Eighth, marking the end of the middle period, returns to a combination of orchestra and voice in a symphonic context. The structure of the work is unconventional; instead of the normal framework of several movements, the piece is in two parts. Part I is based on the Latin text of a 9th-century Christian hymn for Pentecost, Veni creator spiritus ("Come, Creator Spirit"), and Part II is a setting of the words from the closing scene of Goethe's Faust. The two parts are unified by a common idea, that of redemption through the power of love, a unity conveyed through shared musical themes.
Mahler had been convinced from the start of the work's significance; in renouncing the pessimism that had marked much of his music, he offered the Eighth as an expression of confidence in the eternal human spirit. In the period following the composer's death, performances were comparatively rare. However, from the mid-20th century onwards the symphony has been heard regularly in concert halls all over the world, and has been recorded many times. While recognising its wide popularity, modern critics have divided opinions on the work; Theodor W. Adorno, Robert Simpson and Jonathan Carr found its optimism unconvincing, and considered it artistically and musically inferior to Mahler's other symphonies. Conversely, it has also been compared—by Deryck Cooke—to Ludwig van Beethoven's Symphony No. 9 as a defining human statement for its century.
Output: What is the last name of the person who produced three purely instrumental symphonies after a change in direction?
Passage: The Symphony No. 8 in E-flat major by Gustav Mahler is one of the largest-scale choral works in the classical concert repertoire. Because it requires huge instrumental and vocal forces it is frequently called the "Symphony of a Thousand", although the work is normally presented with far fewer than a thousand performers and the composer did not sanction that name. The work was composed in a single inspired burst, at Maiernigg in southern Austria in the summer of 1906. The last of Mahler's works that was premiered in his lifetime, the symphony was a critical and popular success when he conducted the Munich Philharmonic in its first performance, in Munich, on 12 September 1910.
The fusion of song and symphony had been a characteristic of Mahler's early works. In his "middle" compositional period after 1901, a change of direction led him to produce three purely instrumental symphonies. The Eighth, marking the end of the middle period, returns to a combination of orchestra and voice in a symphonic context. The structure of the work is unconventional; instead of the normal framework of several movements, the piece is in two parts. Part I is based on the Latin text of a 9th-century Christian hymn for Pentecost, Veni creator spiritus ("Come, Creator Spirit"), and Part II is a setting of the words from the closing scene of Goethe's Faust. The two parts are unified by a common idea, that of redemption through the power of love, a unity conveyed through shared musical themes.
Mahler had been convinced from the start of the work's significance; in renouncing the pessimism that had marked much of his music, he offered the Eighth as an expression of confidence in the eternal human spirit. In the period following the composer's death, performances were comparatively rare. However, from the mid-20th century onwards the symphony has been heard regularly in concert halls all over the world, and has been recorded many times. While recognising its wide popularity, modern critics have divided opinions on the work; Theodor W. Adorno, Robert Simpson and Jonathan Carr found its optimism unconvincing, and considered it artistically and musically inferior to Mahler's other symphonies. Conversely, it has also been compared—by Deryck Cooke—to Ludwig van Beethoven's Symphony No. 9 as a defining human statement for its century.
Output: What is the last name of the person who offered the Eighth as an expression of confidence in the eternal human spirit?
Passage: In the 1960s, in an undetermined place in the Alps, an eagle couple has two hatching eggs. When both eaglets are born, their mother knows that she must only raise one as their successor. In an ensuing fight with another eagle, the eaglets' father dies when he crashes to the ground. One of the eaglets shortly falls from the nest, and his mother, due by nature to maintain the survivor, ignores the eaglet's cry for help.
In the meantime, forester Danzer meets with a boy named Lukas and his father Keller. They both live in a new house in the mountains, after the death of Maria, mother of Lukas and Keller's wife, as a result of a fire. Keller, gravely afflicted by the death of his wife, fails to live in harmony and understanding with his son, who takes refuge more and more in nature, avoiding contact with his father. As a retreat Lukas constantly goes to the remains of his old house, where he often sees the photograph of his deceased mother.
As Lukas' dog Scout is taking a walk in the forrest, Lukas comes across the eaglet, and Lukas decides to raise him to full health. Lukas takes the eaglet to his old house to take care of him. Danzer also meets the eaglet, and decides to help Lukas for the affection he feels for him.
The forester tells Lukas that the food he has given the eaglet is not good. He also tells him to give sunlight to the eaglet. When a fox sneaks in and kills Keller's hens, he angrily chases Lukas. Lukas, fearful for the safety of the eaglet, goes to his family's hut. Lukas rescues the eaglet from the attacking foxes. As Lukas stays and reads his family's Bible, he comes across the story of Cain and Abel. Aptly fitting the eaglet's own story, Lukas names it Abel.
Output: Who was married to the father of the boy that the forester meets?
Passage: In the 1960s, in an undetermined place in the Alps, an eagle couple has two hatching eggs. When both eaglets are born, their mother knows that she must only raise one as their successor. In an ensuing fight with another eagle, the eaglets' father dies when he crashes to the ground. One of the eaglets shortly falls from the nest, and his mother, due by nature to maintain the survivor, ignores the eaglet's cry for help.
In the meantime, forester Danzer meets with a boy named Lukas and his father Keller. They both live in a new house in the mountains, after the death of Maria, mother of Lukas and Keller's wife, as a result of a fire. Keller, gravely afflicted by the death of his wife, fails to live in harmony and understanding with his son, who takes refuge more and more in nature, avoiding contact with his father. As a retreat Lukas constantly goes to the remains of his old house, where he often sees the photograph of his deceased mother.
As Lukas' dog Scout is taking a walk in the forrest, Lukas comes across the eaglet, and Lukas decides to raise him to full health. Lukas takes the eaglet to his old house to take care of him. Danzer also meets the eaglet, and decides to help Lukas for the affection he feels for him.
The forester tells Lukas that the food he has given the eaglet is not good. He also tells him to give sunlight to the eaglet. When a fox sneaks in and kills Keller's hens, he angrily chases Lukas. Lukas, fearful for the safety of the eaglet, goes to his family's hut. Lukas rescues the eaglet from the attacking foxes. As Lukas stays and reads his family's Bible, he comes across the story of Cain and Abel. Aptly fitting the eaglet's own story, Lukas names it Abel.
Output: What is the name of the dog owned by the boy that the father is losing touch with?
Passage: In the 1960s, in an undetermined place in the Alps, an eagle couple has two hatching eggs. When both eaglets are born, their mother knows that she must only raise one as their successor. In an ensuing fight with another eagle, the eaglets' father dies when he crashes to the ground. One of the eaglets shortly falls from the nest, and his mother, due by nature to maintain the survivor, ignores the eaglet's cry for help.
In the meantime, forester Danzer meets with a boy named Lukas and his father Keller. They both live in a new house in the mountains, after the death of Maria, mother of Lukas and Keller's wife, as a result of a fire. Keller, gravely afflicted by the death of his wife, fails to live in harmony and understanding with his son, who takes refuge more and more in nature, avoiding contact with his father. As a retreat Lukas constantly goes to the remains of his old house, where he often sees the photograph of his deceased mother.
As Lukas' dog Scout is taking a walk in the forrest, Lukas comes across the eaglet, and Lukas decides to raise him to full health. Lukas takes the eaglet to his old house to take care of him. Danzer also meets the eaglet, and decides to help Lukas for the affection he feels for him.
The forester tells Lukas that the food he has given the eaglet is not good. He also tells him to give sunlight to the eaglet. When a fox sneaks in and kills Keller's hens, he angrily chases Lukas. Lukas, fearful for the safety of the eaglet, goes to his family's hut. Lukas rescues the eaglet from the attacking foxes. As Lukas stays and reads his family's Bible, he comes across the story of Cain and Abel. Aptly fitting the eaglet's own story, Lukas names it Abel.
Output: Who helps the boy raise the eaglet?
Passage: After further work as a répétiteur at the opera in Budapest, and with his standing enhanced by his association with Toscanini, Solti was given his first chance to conduct, on 11 March 1938. The opera was The Marriage of Figaro. During that evening, news came of the German invasion of Austria. Many Hungarians feared that Hitler would next invade Hungary; he did not do so, but Horthy, to strengthen his partnership with the Nazis, instituted anti-semitic laws, mirroring the Nuremberg Laws, restricting Hungary's Jews from engaging in professions. Solti's family urged him to move away. He went first to London, where he made his Covent Garden debut, conducting the London Philharmonic for a Russian ballet season. The reviewer in The Times was not impressed with Solti's efforts, finding them "too violent, for he lashed at the orchestra and flogged the music so that he endangered the delicate, evocative atmosphere." At about this time Solti dropped the name "György" in favour of "Georg".After his appearances in London Solti went to Switzerland to seek out Toscanini, who was conducting in Lucerne. Solti hoped that Toscanini would help find him a post in the US. He was unable to do so, but Solti found work and security in Switzerland as vocal coach to the tenor Max Hirzel, who was learning the role of Tristan in Wagner's opera. Throughout the Second World War, Solti remained in Switzerland. He did not see his father again: Mor Stern died of diabetes in a Budapest hospital in 1943. Solti was reunited with his mother and sister after the war. In Switzerland he could not obtain a work permit as a conductor, but earned his living as a piano teacher. After he won the 1942 Geneva International Piano Competition he was permitted to give piano recitals, but was still not allowed to conduct. During his exile, he met Hedwig (Hedi) Oeschli, daughter of a lecturer at Zürich University. They married in 1946. In his memoirs he wrote of her, "She was very elegant and sophisticated. ... Hedi gave me a little grace and taught me good manners – although she never completely succeeded in this. She also helped me enormously in my career".
Output: What is the last name of the woman that married the man who first conducted on 11 March 1938?
Passage: After further work as a répétiteur at the opera in Budapest, and with his standing enhanced by his association with Toscanini, Solti was given his first chance to conduct, on 11 March 1938. The opera was The Marriage of Figaro. During that evening, news came of the German invasion of Austria. Many Hungarians feared that Hitler would next invade Hungary; he did not do so, but Horthy, to strengthen his partnership with the Nazis, instituted anti-semitic laws, mirroring the Nuremberg Laws, restricting Hungary's Jews from engaging in professions. Solti's family urged him to move away. He went first to London, where he made his Covent Garden debut, conducting the London Philharmonic for a Russian ballet season. The reviewer in The Times was not impressed with Solti's efforts, finding them "too violent, for he lashed at the orchestra and flogged the music so that he endangered the delicate, evocative atmosphere." At about this time Solti dropped the name "György" in favour of "Georg".After his appearances in London Solti went to Switzerland to seek out Toscanini, who was conducting in Lucerne. Solti hoped that Toscanini would help find him a post in the US. He was unable to do so, but Solti found work and security in Switzerland as vocal coach to the tenor Max Hirzel, who was learning the role of Tristan in Wagner's opera. Throughout the Second World War, Solti remained in Switzerland. He did not see his father again: Mor Stern died of diabetes in a Budapest hospital in 1943. Solti was reunited with his mother and sister after the war. In Switzerland he could not obtain a work permit as a conductor, but earned his living as a piano teacher. After he won the 1942 Geneva International Piano Competition he was permitted to give piano recitals, but was still not allowed to conduct. During his exile, he met Hedwig (Hedi) Oeschli, daughter of a lecturer at Zürich University. They married in 1946. In his memoirs he wrote of her, "She was very elegant and sophisticated. ... Hedi gave me a little grace and taught me good manners – although she never completely succeeded in this. She also helped me enormously in my career".
Output: What competition was won in 1942 by the man who was urged to move away by his family?
Passage: After further work as a répétiteur at the opera in Budapest, and with his standing enhanced by his association with Toscanini, Solti was given his first chance to conduct, on 11 March 1938. The opera was The Marriage of Figaro. During that evening, news came of the German invasion of Austria. Many Hungarians feared that Hitler would next invade Hungary; he did not do so, but Horthy, to strengthen his partnership with the Nazis, instituted anti-semitic laws, mirroring the Nuremberg Laws, restricting Hungary's Jews from engaging in professions. Solti's family urged him to move away. He went first to London, where he made his Covent Garden debut, conducting the London Philharmonic for a Russian ballet season. The reviewer in The Times was not impressed with Solti's efforts, finding them "too violent, for he lashed at the orchestra and flogged the music so that he endangered the delicate, evocative atmosphere." At about this time Solti dropped the name "György" in favour of "Georg".After his appearances in London Solti went to Switzerland to seek out Toscanini, who was conducting in Lucerne. Solti hoped that Toscanini would help find him a post in the US. He was unable to do so, but Solti found work and security in Switzerland as vocal coach to the tenor Max Hirzel, who was learning the role of Tristan in Wagner's opera. Throughout the Second World War, Solti remained in Switzerland. He did not see his father again: Mor Stern died of diabetes in a Budapest hospital in 1943. Solti was reunited with his mother and sister after the war. In Switzerland he could not obtain a work permit as a conductor, but earned his living as a piano teacher. After he won the 1942 Geneva International Piano Competition he was permitted to give piano recitals, but was still not allowed to conduct. During his exile, he met Hedwig (Hedi) Oeschli, daughter of a lecturer at Zürich University. They married in 1946. In his memoirs he wrote of her, "She was very elegant and sophisticated. ... Hedi gave me a little grace and taught me good manners – although she never completely succeeded in this. She also helped me enormously in my career".
Output: What disease killed the father of the man who debuted with Covent Garden in London?
Passage: After further work as a répétiteur at the opera in Budapest, and with his standing enhanced by his association with Toscanini, Solti was given his first chance to conduct, on 11 March 1938. The opera was The Marriage of Figaro. During that evening, news came of the German invasion of Austria. Many Hungarians feared that Hitler would next invade Hungary; he did not do so, but Horthy, to strengthen his partnership with the Nazis, instituted anti-semitic laws, mirroring the Nuremberg Laws, restricting Hungary's Jews from engaging in professions. Solti's family urged him to move away. He went first to London, where he made his Covent Garden debut, conducting the London Philharmonic for a Russian ballet season. The reviewer in The Times was not impressed with Solti's efforts, finding them "too violent, for he lashed at the orchestra and flogged the music so that he endangered the delicate, evocative atmosphere." At about this time Solti dropped the name "György" in favour of "Georg".After his appearances in London Solti went to Switzerland to seek out Toscanini, who was conducting in Lucerne. Solti hoped that Toscanini would help find him a post in the US. He was unable to do so, but Solti found work and security in Switzerland as vocal coach to the tenor Max Hirzel, who was learning the role of Tristan in Wagner's opera. Throughout the Second World War, Solti remained in Switzerland. He did not see his father again: Mor Stern died of diabetes in a Budapest hospital in 1943. Solti was reunited with his mother and sister after the war. In Switzerland he could not obtain a work permit as a conductor, but earned his living as a piano teacher. After he won the 1942 Geneva International Piano Competition he was permitted to give piano recitals, but was still not allowed to conduct. During his exile, he met Hedwig (Hedi) Oeschli, daughter of a lecturer at Zürich University. They married in 1946. In his memoirs he wrote of her, "She was very elegant and sophisticated. ... Hedi gave me a little grace and taught me good manners – although she never completely succeeded in this. She also helped me enormously in my career".
Output: What job did the man who dropped his first name "György" do to make money while in Switzerland?
Passage: Billy Behan is a poor teenage boy from the Bronx.  One day he catches the attention of gangster Dutch Schultz.  Changing his last name to Bathgate, after a local street, he goes to work for Schultz's organization, serving mostly as a gopher for Schultz.  Billy is present when Schultz murders his former partner Bo Weinberg, who Schultz believes betrayed him. Schultz then begins a relationship with Weinberg's beautiful, married, girlfriend, Drew Preston.
Facing legal charges in a court in upstate New York, Schultz brings Billy and Drew along.  He successfully charms the locals, presenting himself as charming and good natured.  While his boss Dutch stands trial, Billy's job is to watch over Drew.  His loyalties to Schultz are tested as he begins falling in love with the flirtatious Drew. Realizing that Drew is about to be killed, Billy calls her husband, who hurries to town and takes her home before Schultz's men can make their move.
Having beaten the rap in court, Dutch is indicted again on federal tax evasion charges.  He wants to have federal prosecutor Thomas Dewey murdered, but his request is rejected by the Mafia Commission.  Schultz sends Billy to another gangster with some bribe money, but the effort is rejected.  When Billy returns with the bad news, he and Schultz have a falling out and Billy is fired by Schultz's associate Otto, who lets him keep the bribe money as a severance package.  As Billy leaves, he is abducted and beaten by gangsters working for Lucky Luciano.  The men storm Dutch's hideout and kill everyone inside.  Billy is taken before Luciano, who warns him that he knows where Billy's family lives, before letting him go.
Output: What is the first name of the person who places the call to Drew's husband before she can be murdered?
Passage: Billy Behan is a poor teenage boy from the Bronx.  One day he catches the attention of gangster Dutch Schultz.  Changing his last name to Bathgate, after a local street, he goes to work for Schultz's organization, serving mostly as a gopher for Schultz.  Billy is present when Schultz murders his former partner Bo Weinberg, who Schultz believes betrayed him. Schultz then begins a relationship with Weinberg's beautiful, married, girlfriend, Drew Preston.
Facing legal charges in a court in upstate New York, Schultz brings Billy and Drew along.  He successfully charms the locals, presenting himself as charming and good natured.  While his boss Dutch stands trial, Billy's job is to watch over Drew.  His loyalties to Schultz are tested as he begins falling in love with the flirtatious Drew. Realizing that Drew is about to be killed, Billy calls her husband, who hurries to town and takes her home before Schultz's men can make their move.
Having beaten the rap in court, Dutch is indicted again on federal tax evasion charges.  He wants to have federal prosecutor Thomas Dewey murdered, but his request is rejected by the Mafia Commission.  Schultz sends Billy to another gangster with some bribe money, but the effort is rejected.  When Billy returns with the bad news, he and Schultz have a falling out and Billy is fired by Schultz's associate Otto, who lets him keep the bribe money as a severance package.  As Billy leaves, he is abducted and beaten by gangsters working for Lucky Luciano.  The men storm Dutch's hideout and kill everyone inside.  Billy is taken before Luciano, who warns him that he knows where Billy's family lives, before letting him go.
Output: What is the last name of the man Drew is having an affair with before Dutch?
Passage: Billy Behan is a poor teenage boy from the Bronx.  One day he catches the attention of gangster Dutch Schultz.  Changing his last name to Bathgate, after a local street, he goes to work for Schultz's organization, serving mostly as a gopher for Schultz.  Billy is present when Schultz murders his former partner Bo Weinberg, who Schultz believes betrayed him. Schultz then begins a relationship with Weinberg's beautiful, married, girlfriend, Drew Preston.
Facing legal charges in a court in upstate New York, Schultz brings Billy and Drew along.  He successfully charms the locals, presenting himself as charming and good natured.  While his boss Dutch stands trial, Billy's job is to watch over Drew.  His loyalties to Schultz are tested as he begins falling in love with the flirtatious Drew. Realizing that Drew is about to be killed, Billy calls her husband, who hurries to town and takes her home before Schultz's men can make their move.
Having beaten the rap in court, Dutch is indicted again on federal tax evasion charges.  He wants to have federal prosecutor Thomas Dewey murdered, but his request is rejected by the Mafia Commission.  Schultz sends Billy to another gangster with some bribe money, but the effort is rejected.  When Billy returns with the bad news, he and Schultz have a falling out and Billy is fired by Schultz's associate Otto, who lets him keep the bribe money as a severance package.  As Billy leaves, he is abducted and beaten by gangsters working for Lucky Luciano.  The men storm Dutch's hideout and kill everyone inside.  Billy is taken before Luciano, who warns him that he knows where Billy's family lives, before letting him go.
Output: Who is the gangster responsible for storming Dutch's hideout?
Passage: Billy Behan is a poor teenage boy from the Bronx.  One day he catches the attention of gangster Dutch Schultz.  Changing his last name to Bathgate, after a local street, he goes to work for Schultz's organization, serving mostly as a gopher for Schultz.  Billy is present when Schultz murders his former partner Bo Weinberg, who Schultz believes betrayed him. Schultz then begins a relationship with Weinberg's beautiful, married, girlfriend, Drew Preston.
Facing legal charges in a court in upstate New York, Schultz brings Billy and Drew along.  He successfully charms the locals, presenting himself as charming and good natured.  While his boss Dutch stands trial, Billy's job is to watch over Drew.  His loyalties to Schultz are tested as he begins falling in love with the flirtatious Drew. Realizing that Drew is about to be killed, Billy calls her husband, who hurries to town and takes her home before Schultz's men can make their move.
Having beaten the rap in court, Dutch is indicted again on federal tax evasion charges.  He wants to have federal prosecutor Thomas Dewey murdered, but his request is rejected by the Mafia Commission.  Schultz sends Billy to another gangster with some bribe money, but the effort is rejected.  When Billy returns with the bad news, he and Schultz have a falling out and Billy is fired by Schultz's associate Otto, who lets him keep the bribe money as a severance package.  As Billy leaves, he is abducted and beaten by gangsters working for Lucky Luciano.  The men storm Dutch's hideout and kill everyone inside.  Billy is taken before Luciano, who warns him that he knows where Billy's family lives, before letting him go.
Output: What is the first name of the man who's murder request is rejected by the Mafia commission?
Passage: Home from the Civil War, where he fought for the Union army, John Willoughby now lives in the western town of Kittreck Wells with wife Nora and their 7-year-old son, Petey. An appeal for help from Marshal Russell comes when a band of former Confederate soldiers are seen pulling a robbery in a neighboring town. John, who hates all rebels, agrees to go, against his wife's wishes that all his fighting must end.
Meanwhile, the Rebels, Bedloe Mason and his sons Gray, Wesley, Cain and Frank, decide to ride into Kittreck Wells to replenish their dwindling water supply. Bedloe sends Gray, Frank and Wesley into town while he and Cain await their return. Petey Willoughby, who shares his father's dislike of rebels, aims and fires a cap pistol at them. Startled by the sound, Wesley Mason shoots and kills the boy. As the brothers mount their horses and gallop out of town, Gray, not having been witnessing the shooting, hesitates, then catches up to the others. 
When they reach Bedloe and Cain, Gray, angered by his brother's recklessness, appeals to his father and brothers that Wesley has to go back to face the consequences. Wesley is dead-set against this and the others take his side. Gray rides off alone to learn the fate of the boy, but Wesley ambushes his brother by throwing a knife into his back. After strapping his brother's unconscious body onto his horse, Wesley sets the animal loose. He then returns to camp and reports that Gray refused to listen to reason, but will meet the family at Oak Fork in three days. That night, John finds the wandering horse bearing Gray's body and takes him home.
Wesley lies to his father that Gray will meet them in the next town. Gray's horse wanders into town, where John and Nora remove the wounded man from the saddle and take him into their home. John is still determined to learn who killed the child, and an eyewitness accuses Gray of being one of the gang. Nora has to stop her husband from attacking Gray with an axe.
Output: Who were the three people being shot at by Petey Willoughby?
Passage: Home from the Civil War, where he fought for the Union army, John Willoughby now lives in the western town of Kittreck Wells with wife Nora and their 7-year-old son, Petey. An appeal for help from Marshal Russell comes when a band of former Confederate soldiers are seen pulling a robbery in a neighboring town. John, who hates all rebels, agrees to go, against his wife's wishes that all his fighting must end.
Meanwhile, the Rebels, Bedloe Mason and his sons Gray, Wesley, Cain and Frank, decide to ride into Kittreck Wells to replenish their dwindling water supply. Bedloe sends Gray, Frank and Wesley into town while he and Cain await their return. Petey Willoughby, who shares his father's dislike of rebels, aims and fires a cap pistol at them. Startled by the sound, Wesley Mason shoots and kills the boy. As the brothers mount their horses and gallop out of town, Gray, not having been witnessing the shooting, hesitates, then catches up to the others. 
When they reach Bedloe and Cain, Gray, angered by his brother's recklessness, appeals to his father and brothers that Wesley has to go back to face the consequences. Wesley is dead-set against this and the others take his side. Gray rides off alone to learn the fate of the boy, but Wesley ambushes his brother by throwing a knife into his back. After strapping his brother's unconscious body onto his horse, Wesley sets the animal loose. He then returns to camp and reports that Gray refused to listen to reason, but will meet the family at Oak Fork in three days. That night, John finds the wandering horse bearing Gray's body and takes him home.
Wesley lies to his father that Gray will meet them in the next town. Gray's horse wanders into town, where John and Nora remove the wounded man from the saddle and take him into their home. John is still determined to learn who killed the child, and an eyewitness accuses Gray of being one of the gang. Nora has to stop her husband from attacking Gray with an axe.
Output: What are the first names of the two people who do not go into town?
Passage: Home from the Civil War, where he fought for the Union army, John Willoughby now lives in the western town of Kittreck Wells with wife Nora and their 7-year-old son, Petey. An appeal for help from Marshal Russell comes when a band of former Confederate soldiers are seen pulling a robbery in a neighboring town. John, who hates all rebels, agrees to go, against his wife's wishes that all his fighting must end.
Meanwhile, the Rebels, Bedloe Mason and his sons Gray, Wesley, Cain and Frank, decide to ride into Kittreck Wells to replenish their dwindling water supply. Bedloe sends Gray, Frank and Wesley into town while he and Cain await their return. Petey Willoughby, who shares his father's dislike of rebels, aims and fires a cap pistol at them. Startled by the sound, Wesley Mason shoots and kills the boy. As the brothers mount their horses and gallop out of town, Gray, not having been witnessing the shooting, hesitates, then catches up to the others. 
When they reach Bedloe and Cain, Gray, angered by his brother's recklessness, appeals to his father and brothers that Wesley has to go back to face the consequences. Wesley is dead-set against this and the others take his side. Gray rides off alone to learn the fate of the boy, but Wesley ambushes his brother by throwing a knife into his back. After strapping his brother's unconscious body onto his horse, Wesley sets the animal loose. He then returns to camp and reports that Gray refused to listen to reason, but will meet the family at Oak Fork in three days. That night, John finds the wandering horse bearing Gray's body and takes him home.
Wesley lies to his father that Gray will meet them in the next town. Gray's horse wanders into town, where John and Nora remove the wounded man from the saddle and take him into their home. John is still determined to learn who killed the child, and an eyewitness accuses Gray of being one of the gang. Nora has to stop her husband from attacking Gray with an axe.
Output: What is the full name of the person Petey shares his dislike of rebels with?