niryuu/sni-each-converted huggingface dataset:
Passage: Chrisye's tenor voice and performance on Badai Pasti Berlalu led Amin Widjaja of Musica Studios to ask him to sign with Musica; Widjaja had been scouting him since the release of Guruh Gipsy. Chrisye agreed on condition that he be allowed creative freedom, to which Widjaja reluctantly agreed. In May 1978 Chrisye began work on his first album with Musica, Sabda Alam (Nature's Order), incorporating several songs by other artists and  some written by himself, including the title song. He recorded it after locking himself in the studio with the sound engineer and arranger; despite Amin's wanting to monitor their progress, Chrisye refused to allow him access. The album, greatly influenced by Badai Pasti Berlalu and drawing on the double tracking technique pioneered by the Beatles (in which the vocals are recorded twice to achieve fuller sound), was released in August that year. Heavily promoted in a campaign during which Chrisye was interviewed on the national television station TVRI and on radio, the album eventually sold 400,000 copies.The following year Chrisye recorded Percik Pesona (Stain of Enchantment) with Jockie. Produced after Amin's death, the album featured songs written by Chrisye's close friend Junaidi Salat, as well as Jockie and Guruh. The album's title was chosen by vote; the titular song was not released as a single. Percik Pesona, released in August 1979, was a critical and commercial failure. After discussing the issue with other artists, Chrisye blamed the album's failure on its similarity to Badai Pasti Berlalu. As a result, following a period of contemplation, he began branching out into different genres. That same year he was on the panel of the Prambors Teenage Songwriting Competition, held on 5 May.After deciding that romantic pop songs influenced by easy listening would suit him best, Chrisye began recording his next album, Puspa Indah (Beautiful Flower). All but one of the songs were composed by Guruh Sukarnoputra; the album also featured the English-language "To My Friends on Legian Beach". Two of the songs, "Galih dan Ratna" ("Galih and Ratna") and "Gita Cinta" ("Love Song"), were used in the 1979 film Gita Cinta dari SMA (Love Song from High School); Chrisye played a minor part in the film's sequel, Puspa Indah Taman Hati (Beautiful Flower in the Heart's Garden), as a singer. Due in part to the popularity of the film, Puspa Indah was well received and sold well; "Galih dan Ratna" and "Gita Cinta", released as singles, were also commercially successful.In 1980 Chrisye appeared in the Indonesian film Seindah Rembulan (As Beautiful as the Moon); at first reluctant to accept the role, he was convinced by Sys NS that it would be fun. He later regretted the decision, considering the film crew unprofessional and often fighting with director Syamsul Fuad. The following year, he released Pantulan Cita (Reflection of Dreams), a collaboration with Jockie. After the album flopped, Chrisye took a long sabbatical.
Output: What is the name of the person that performed Guruh Gipsy?
Passage: Chrisye's tenor voice and performance on Badai Pasti Berlalu led Amin Widjaja of Musica Studios to ask him to sign with Musica; Widjaja had been scouting him since the release of Guruh Gipsy. Chrisye agreed on condition that he be allowed creative freedom, to which Widjaja reluctantly agreed. In May 1978 Chrisye began work on his first album with Musica, Sabda Alam (Nature's Order), incorporating several songs by other artists and  some written by himself, including the title song. He recorded it after locking himself in the studio with the sound engineer and arranger; despite Amin's wanting to monitor their progress, Chrisye refused to allow him access. The album, greatly influenced by Badai Pasti Berlalu and drawing on the double tracking technique pioneered by the Beatles (in which the vocals are recorded twice to achieve fuller sound), was released in August that year. Heavily promoted in a campaign during which Chrisye was interviewed on the national television station TVRI and on radio, the album eventually sold 400,000 copies.The following year Chrisye recorded Percik Pesona (Stain of Enchantment) with Jockie. Produced after Amin's death, the album featured songs written by Chrisye's close friend Junaidi Salat, as well as Jockie and Guruh. The album's title was chosen by vote; the titular song was not released as a single. Percik Pesona, released in August 1979, was a critical and commercial failure. After discussing the issue with other artists, Chrisye blamed the album's failure on its similarity to Badai Pasti Berlalu. As a result, following a period of contemplation, he began branching out into different genres. That same year he was on the panel of the Prambors Teenage Songwriting Competition, held on 5 May.After deciding that romantic pop songs influenced by easy listening would suit him best, Chrisye began recording his next album, Puspa Indah (Beautiful Flower). All but one of the songs were composed by Guruh Sukarnoputra; the album also featured the English-language "To My Friends on Legian Beach". Two of the songs, "Galih dan Ratna" ("Galih and Ratna") and "Gita Cinta" ("Love Song"), were used in the 1979 film Gita Cinta dari SMA (Love Song from High School); Chrisye played a minor part in the film's sequel, Puspa Indah Taman Hati (Beautiful Flower in the Heart's Garden), as a singer. Due in part to the popularity of the film, Puspa Indah was well received and sold well; "Galih dan Ratna" and "Gita Cinta", released as singles, were also commercially successful.In 1980 Chrisye appeared in the Indonesian film Seindah Rembulan (As Beautiful as the Moon); at first reluctant to accept the role, he was convinced by Sys NS that it would be fun. He later regretted the decision, considering the film crew unprofessional and often fighting with director Syamsul Fuad. The following year, he released Pantulan Cita (Reflection of Dreams), a collaboration with Jockie. After the album flopped, Chrisye took a long sabbatical.
Output: What is the name of the person that wrote some of the songs for Sabda Alam?
Passage: Chrisye's tenor voice and performance on Badai Pasti Berlalu led Amin Widjaja of Musica Studios to ask him to sign with Musica; Widjaja had been scouting him since the release of Guruh Gipsy. Chrisye agreed on condition that he be allowed creative freedom, to which Widjaja reluctantly agreed. In May 1978 Chrisye began work on his first album with Musica, Sabda Alam (Nature's Order), incorporating several songs by other artists and  some written by himself, including the title song. He recorded it after locking himself in the studio with the sound engineer and arranger; despite Amin's wanting to monitor their progress, Chrisye refused to allow him access. The album, greatly influenced by Badai Pasti Berlalu and drawing on the double tracking technique pioneered by the Beatles (in which the vocals are recorded twice to achieve fuller sound), was released in August that year. Heavily promoted in a campaign during which Chrisye was interviewed on the national television station TVRI and on radio, the album eventually sold 400,000 copies.The following year Chrisye recorded Percik Pesona (Stain of Enchantment) with Jockie. Produced after Amin's death, the album featured songs written by Chrisye's close friend Junaidi Salat, as well as Jockie and Guruh. The album's title was chosen by vote; the titular song was not released as a single. Percik Pesona, released in August 1979, was a critical and commercial failure. After discussing the issue with other artists, Chrisye blamed the album's failure on its similarity to Badai Pasti Berlalu. As a result, following a period of contemplation, he began branching out into different genres. That same year he was on the panel of the Prambors Teenage Songwriting Competition, held on 5 May.After deciding that romantic pop songs influenced by easy listening would suit him best, Chrisye began recording his next album, Puspa Indah (Beautiful Flower). All but one of the songs were composed by Guruh Sukarnoputra; the album also featured the English-language "To My Friends on Legian Beach". Two of the songs, "Galih dan Ratna" ("Galih and Ratna") and "Gita Cinta" ("Love Song"), were used in the 1979 film Gita Cinta dari SMA (Love Song from High School); Chrisye played a minor part in the film's sequel, Puspa Indah Taman Hati (Beautiful Flower in the Heart's Garden), as a singer. Due in part to the popularity of the film, Puspa Indah was well received and sold well; "Galih dan Ratna" and "Gita Cinta", released as singles, were also commercially successful.In 1980 Chrisye appeared in the Indonesian film Seindah Rembulan (As Beautiful as the Moon); at first reluctant to accept the role, he was convinced by Sys NS that it would be fun. He later regretted the decision, considering the film crew unprofessional and often fighting with director Syamsul Fuad. The following year, he released Pantulan Cita (Reflection of Dreams), a collaboration with Jockie. After the album flopped, Chrisye took a long sabbatical.
Output: What is the full name of the person that Chrisye refused access to?
Passage: Chrisye's tenor voice and performance on Badai Pasti Berlalu led Amin Widjaja of Musica Studios to ask him to sign with Musica; Widjaja had been scouting him since the release of Guruh Gipsy. Chrisye agreed on condition that he be allowed creative freedom, to which Widjaja reluctantly agreed. In May 1978 Chrisye began work on his first album with Musica, Sabda Alam (Nature's Order), incorporating several songs by other artists and  some written by himself, including the title song. He recorded it after locking himself in the studio with the sound engineer and arranger; despite Amin's wanting to monitor their progress, Chrisye refused to allow him access. The album, greatly influenced by Badai Pasti Berlalu and drawing on the double tracking technique pioneered by the Beatles (in which the vocals are recorded twice to achieve fuller sound), was released in August that year. Heavily promoted in a campaign during which Chrisye was interviewed on the national television station TVRI and on radio, the album eventually sold 400,000 copies.The following year Chrisye recorded Percik Pesona (Stain of Enchantment) with Jockie. Produced after Amin's death, the album featured songs written by Chrisye's close friend Junaidi Salat, as well as Jockie and Guruh. The album's title was chosen by vote; the titular song was not released as a single. Percik Pesona, released in August 1979, was a critical and commercial failure. After discussing the issue with other artists, Chrisye blamed the album's failure on its similarity to Badai Pasti Berlalu. As a result, following a period of contemplation, he began branching out into different genres. That same year he was on the panel of the Prambors Teenage Songwriting Competition, held on 5 May.After deciding that romantic pop songs influenced by easy listening would suit him best, Chrisye began recording his next album, Puspa Indah (Beautiful Flower). All but one of the songs were composed by Guruh Sukarnoputra; the album also featured the English-language "To My Friends on Legian Beach". Two of the songs, "Galih dan Ratna" ("Galih and Ratna") and "Gita Cinta" ("Love Song"), were used in the 1979 film Gita Cinta dari SMA (Love Song from High School); Chrisye played a minor part in the film's sequel, Puspa Indah Taman Hati (Beautiful Flower in the Heart's Garden), as a singer. Due in part to the popularity of the film, Puspa Indah was well received and sold well; "Galih dan Ratna" and "Gita Cinta", released as singles, were also commercially successful.In 1980 Chrisye appeared in the Indonesian film Seindah Rembulan (As Beautiful as the Moon); at first reluctant to accept the role, he was convinced by Sys NS that it would be fun. He later regretted the decision, considering the film crew unprofessional and often fighting with director Syamsul Fuad. The following year, he released Pantulan Cita (Reflection of Dreams), a collaboration with Jockie. After the album flopped, Chrisye took a long sabbatical.
Output: What album was greatly influenced by Badai Pasti Berlalu?
Passage: Chrisye's tenor voice and performance on Badai Pasti Berlalu led Amin Widjaja of Musica Studios to ask him to sign with Musica; Widjaja had been scouting him since the release of Guruh Gipsy. Chrisye agreed on condition that he be allowed creative freedom, to which Widjaja reluctantly agreed. In May 1978 Chrisye began work on his first album with Musica, Sabda Alam (Nature's Order), incorporating several songs by other artists and  some written by himself, including the title song. He recorded it after locking himself in the studio with the sound engineer and arranger; despite Amin's wanting to monitor their progress, Chrisye refused to allow him access. The album, greatly influenced by Badai Pasti Berlalu and drawing on the double tracking technique pioneered by the Beatles (in which the vocals are recorded twice to achieve fuller sound), was released in August that year. Heavily promoted in a campaign during which Chrisye was interviewed on the national television station TVRI and on radio, the album eventually sold 400,000 copies.The following year Chrisye recorded Percik Pesona (Stain of Enchantment) with Jockie. Produced after Amin's death, the album featured songs written by Chrisye's close friend Junaidi Salat, as well as Jockie and Guruh. The album's title was chosen by vote; the titular song was not released as a single. Percik Pesona, released in August 1979, was a critical and commercial failure. After discussing the issue with other artists, Chrisye blamed the album's failure on its similarity to Badai Pasti Berlalu. As a result, following a period of contemplation, he began branching out into different genres. That same year he was on the panel of the Prambors Teenage Songwriting Competition, held on 5 May.After deciding that romantic pop songs influenced by easy listening would suit him best, Chrisye began recording his next album, Puspa Indah (Beautiful Flower). All but one of the songs were composed by Guruh Sukarnoputra; the album also featured the English-language "To My Friends on Legian Beach". Two of the songs, "Galih dan Ratna" ("Galih and Ratna") and "Gita Cinta" ("Love Song"), were used in the 1979 film Gita Cinta dari SMA (Love Song from High School); Chrisye played a minor part in the film's sequel, Puspa Indah Taman Hati (Beautiful Flower in the Heart's Garden), as a singer. Due in part to the popularity of the film, Puspa Indah was well received and sold well; "Galih dan Ratna" and "Gita Cinta", released as singles, were also commercially successful.In 1980 Chrisye appeared in the Indonesian film Seindah Rembulan (As Beautiful as the Moon); at first reluctant to accept the role, he was convinced by Sys NS that it would be fun. He later regretted the decision, considering the film crew unprofessional and often fighting with director Syamsul Fuad. The following year, he released Pantulan Cita (Reflection of Dreams), a collaboration with Jockie. After the album flopped, Chrisye took a long sabbatical.
Output: What album drew on the double tracking technique pioneered by the Beatles?
Passage: In the autumn of 1927, Messiaen joined Dupré's organ course. Dupré later wrote that Messiaen, having never seen an organ console, sat quietly for an hour while Dupré explained and demonstrated the instrument, and then came back a week later to play Johann Sebastian Bach's Fantasia in C minor to an impressive standard. From 1929, Messiaen regularly deputised at the Église de la Sainte-Trinité, Paris, for the organist Charles Quef, who was ill at the time. The post became vacant in 1931 when Quef died, and Dupré, Charles Tournemire and Widor among others supported Messiaen's candidacy. His formal application included a letter of recommendation from Widor. The appointment was confirmed in 1931, and he remained the organist at the church for more than sixty years. He also assumed a post at the Schola Cantorum de Paris in the early 1930s. In 1932, he composed the Apparition de l'église éternelle for organ.
He married the violinist and composer Claire Delbos also in 1932. Their marriage inspired him to both compose works for her to play (Thème et variations for violin and piano in the year they were married) and to write pieces to celebrate their domestic happiness, including the song cycle Poèmes pour Mi in 1936, which he orchestrated in 1937. Mi was Messiaen's affectionate nickname for his wife. In 1937 their son Pascal was born. The marriage turned to tragedy when Delbos lost her memory after an operation towards the end of World War II. She spent the rest of her life in mental institutions.In 1936, along with André Jolivet, Daniel-Lesur and Yves Baudrier, Messiaen formed the group La jeune France ("Young France"). Their manifesto implicitly attacked the frivolity predominant in contemporary Parisian music and rejected Jean Cocteau's 1918 Le coq et l'arlequin in favour of a "living music, having the impetus of sincerity, generosity and artistic conscientiousness". Messiaen's career soon departed from this polemical phase.
Output: What is the name of the person who was married to Claire Delbos?
Passage: In the autumn of 1927, Messiaen joined Dupré's organ course. Dupré later wrote that Messiaen, having never seen an organ console, sat quietly for an hour while Dupré explained and demonstrated the instrument, and then came back a week later to play Johann Sebastian Bach's Fantasia in C minor to an impressive standard. From 1929, Messiaen regularly deputised at the Église de la Sainte-Trinité, Paris, for the organist Charles Quef, who was ill at the time. The post became vacant in 1931 when Quef died, and Dupré, Charles Tournemire and Widor among others supported Messiaen's candidacy. His formal application included a letter of recommendation from Widor. The appointment was confirmed in 1931, and he remained the organist at the church for more than sixty years. He also assumed a post at the Schola Cantorum de Paris in the early 1930s. In 1932, he composed the Apparition de l'église éternelle for organ.
He married the violinist and composer Claire Delbos also in 1932. Their marriage inspired him to both compose works for her to play (Thème et variations for violin and piano in the year they were married) and to write pieces to celebrate their domestic happiness, including the song cycle Poèmes pour Mi in 1936, which he orchestrated in 1937. Mi was Messiaen's affectionate nickname for his wife. In 1937 their son Pascal was born. The marriage turned to tragedy when Delbos lost her memory after an operation towards the end of World War II. She spent the rest of her life in mental institutions.In 1936, along with André Jolivet, Daniel-Lesur and Yves Baudrier, Messiaen formed the group La jeune France ("Young France"). Their manifesto implicitly attacked the frivolity predominant in contemporary Parisian music and rejected Jean Cocteau's 1918 Le coq et l'arlequin in favour of a "living music, having the impetus of sincerity, generosity and artistic conscientiousness". Messiaen's career soon departed from this polemical phase.
Output: Whose nickname was Mi?
Passage: Among his fellow musicians, Szigeti was widely admired and respected. Violinist Nathan Milstein wrote that Szigeti... was an incredibly cultured musician. Actually his talent grew out of his culture ... I always admired him, and he was respected by musicians ... in his late years, he finally got the appreciation he deserved from the general public as well.
In his memoirs, published in 2004, cellist János Starker asserts that Szigeti was one of the giants among the violinists I had heard from childhood on, and my admiration for him is undiminished up to this day.
Starker then describes a recital he attended late in Szigeti's career, illustrating both the extent to which Szigeti was suffering from arthritis and his ability to still communicate his musical ideas effectively: 
"He invited me to his recital in Town Hall ... the first few minutes were excruciating: as I saw later, his fingers had deteriorated to the point that he had almost no flesh on them. But once he loosened up a bit he produced heart-rending beauty.
Violinist Yehudi Menuhin comments at length about Szigeti in his own memoirs, remarking as many others did on Szigeti's intellectual approach to music, but in a somewhat more critical fashion:
Apart from Enesco, he was the most cultivated violinist I have ever known but while Enesco was a force of nature, Szigeti, slender, small, anxious, was a beautifully fashioned piece of porcelain, a priceless Sèvres vase. Curiously for a Hungarian, from whom one expects wild, energetic, spontaneous qualities, Szigeti travelled even farther up a one-way road of deliberate intellectualism. A young accompanist who worked with Szigeti told me that two hours concentration wouldn't get them beyond the first three bars of a sonata--so much analysis and ratiocination went into his practice ... A similar persnicketiness marked his adjudication. Shortly before he died in 1973, he was a member of our jury at the City of London Carl Flesch Concours ... I was struck not only by the sharpness of his intellect but also by what seemed to me the perversity of his opinions. Some particular aspect of a competitor's playing would hold his attention, and he would take violent issue with it, to the exclusion of everything else. For him a violinist was made or broken, a prize awarded or withheld, on details that to me scarcely mattered.
Nevertheless, Menuhin too referred to Szigeti as "a violinist whom I much admired and a man of whom I was very fond".
Output: What is the last name of the man who compares the musician who was widely admired among his peers to another musician who was a "force of nature"?
Passage: Among his fellow musicians, Szigeti was widely admired and respected. Violinist Nathan Milstein wrote that Szigeti... was an incredibly cultured musician. Actually his talent grew out of his culture ... I always admired him, and he was respected by musicians ... in his late years, he finally got the appreciation he deserved from the general public as well.
In his memoirs, published in 2004, cellist János Starker asserts that Szigeti was one of the giants among the violinists I had heard from childhood on, and my admiration for him is undiminished up to this day.
Starker then describes a recital he attended late in Szigeti's career, illustrating both the extent to which Szigeti was suffering from arthritis and his ability to still communicate his musical ideas effectively: 
"He invited me to his recital in Town Hall ... the first few minutes were excruciating: as I saw later, his fingers had deteriorated to the point that he had almost no flesh on them. But once he loosened up a bit he produced heart-rending beauty.
Violinist Yehudi Menuhin comments at length about Szigeti in his own memoirs, remarking as many others did on Szigeti's intellectual approach to music, but in a somewhat more critical fashion:
Apart from Enesco, he was the most cultivated violinist I have ever known but while Enesco was a force of nature, Szigeti, slender, small, anxious, was a beautifully fashioned piece of porcelain, a priceless Sèvres vase. Curiously for a Hungarian, from whom one expects wild, energetic, spontaneous qualities, Szigeti travelled even farther up a one-way road of deliberate intellectualism. A young accompanist who worked with Szigeti told me that two hours concentration wouldn't get them beyond the first three bars of a sonata--so much analysis and ratiocination went into his practice ... A similar persnicketiness marked his adjudication. Shortly before he died in 1973, he was a member of our jury at the City of London Carl Flesch Concours ... I was struck not only by the sharpness of his intellect but also by what seemed to me the perversity of his opinions. Some particular aspect of a competitor's playing would hold his attention, and he would take violent issue with it, to the exclusion of everything else. For him a violinist was made or broken, a prize awarded or withheld, on details that to me scarcely mattered.
Nevertheless, Menuhin too referred to Szigeti as "a violinist whom I much admired and a man of whom I was very fond".
Output: What is the last name of the person that the violinist who had a critical take on Szigeti compared him to?
Passage: Among his fellow musicians, Szigeti was widely admired and respected. Violinist Nathan Milstein wrote that Szigeti... was an incredibly cultured musician. Actually his talent grew out of his culture ... I always admired him, and he was respected by musicians ... in his late years, he finally got the appreciation he deserved from the general public as well.
In his memoirs, published in 2004, cellist János Starker asserts that Szigeti was one of the giants among the violinists I had heard from childhood on, and my admiration for him is undiminished up to this day.
Starker then describes a recital he attended late in Szigeti's career, illustrating both the extent to which Szigeti was suffering from arthritis and his ability to still communicate his musical ideas effectively: 
"He invited me to his recital in Town Hall ... the first few minutes were excruciating: as I saw later, his fingers had deteriorated to the point that he had almost no flesh on them. But once he loosened up a bit he produced heart-rending beauty.
Violinist Yehudi Menuhin comments at length about Szigeti in his own memoirs, remarking as many others did on Szigeti's intellectual approach to music, but in a somewhat more critical fashion:
Apart from Enesco, he was the most cultivated violinist I have ever known but while Enesco was a force of nature, Szigeti, slender, small, anxious, was a beautifully fashioned piece of porcelain, a priceless Sèvres vase. Curiously for a Hungarian, from whom one expects wild, energetic, spontaneous qualities, Szigeti travelled even farther up a one-way road of deliberate intellectualism. A young accompanist who worked with Szigeti told me that two hours concentration wouldn't get them beyond the first three bars of a sonata--so much analysis and ratiocination went into his practice ... A similar persnicketiness marked his adjudication. Shortly before he died in 1973, he was a member of our jury at the City of London Carl Flesch Concours ... I was struck not only by the sharpness of his intellect but also by what seemed to me the perversity of his opinions. Some particular aspect of a competitor's playing would hold his attention, and he would take violent issue with it, to the exclusion of everything else. For him a violinist was made or broken, a prize awarded or withheld, on details that to me scarcely mattered.
Nevertheless, Menuhin too referred to Szigeti as "a violinist whom I much admired and a man of whom I was very fond".
Output: What is the name of the person who, in his late years, reportedly got the appreciation he deserved from the general public?
Passage: Among his fellow musicians, Szigeti was widely admired and respected. Violinist Nathan Milstein wrote that Szigeti... was an incredibly cultured musician. Actually his talent grew out of his culture ... I always admired him, and he was respected by musicians ... in his late years, he finally got the appreciation he deserved from the general public as well.
In his memoirs, published in 2004, cellist János Starker asserts that Szigeti was one of the giants among the violinists I had heard from childhood on, and my admiration for him is undiminished up to this day.
Starker then describes a recital he attended late in Szigeti's career, illustrating both the extent to which Szigeti was suffering from arthritis and his ability to still communicate his musical ideas effectively: 
"He invited me to his recital in Town Hall ... the first few minutes were excruciating: as I saw later, his fingers had deteriorated to the point that he had almost no flesh on them. But once he loosened up a bit he produced heart-rending beauty.
Violinist Yehudi Menuhin comments at length about Szigeti in his own memoirs, remarking as many others did on Szigeti's intellectual approach to music, but in a somewhat more critical fashion:
Apart from Enesco, he was the most cultivated violinist I have ever known but while Enesco was a force of nature, Szigeti, slender, small, anxious, was a beautifully fashioned piece of porcelain, a priceless Sèvres vase. Curiously for a Hungarian, from whom one expects wild, energetic, spontaneous qualities, Szigeti travelled even farther up a one-way road of deliberate intellectualism. A young accompanist who worked with Szigeti told me that two hours concentration wouldn't get them beyond the first three bars of a sonata--so much analysis and ratiocination went into his practice ... A similar persnicketiness marked his adjudication. Shortly before he died in 1973, he was a member of our jury at the City of London Carl Flesch Concours ... I was struck not only by the sharpness of his intellect but also by what seemed to me the perversity of his opinions. Some particular aspect of a competitor's playing would hold his attention, and he would take violent issue with it, to the exclusion of everything else. For him a violinist was made or broken, a prize awarded or withheld, on details that to me scarcely mattered.
Nevertheless, Menuhin too referred to Szigeti as "a violinist whom I much admired and a man of whom I was very fond".
Output: What is the name of the person whose adjudication was reportedly marked by a persnicketiness similar to the analysis and ratiocination that went into his practice?
Passage: Among his fellow musicians, Szigeti was widely admired and respected. Violinist Nathan Milstein wrote that Szigeti... was an incredibly cultured musician. Actually his talent grew out of his culture ... I always admired him, and he was respected by musicians ... in his late years, he finally got the appreciation he deserved from the general public as well.
In his memoirs, published in 2004, cellist János Starker asserts that Szigeti was one of the giants among the violinists I had heard from childhood on, and my admiration for him is undiminished up to this day.
Starker then describes a recital he attended late in Szigeti's career, illustrating both the extent to which Szigeti was suffering from arthritis and his ability to still communicate his musical ideas effectively: 
"He invited me to his recital in Town Hall ... the first few minutes were excruciating: as I saw later, his fingers had deteriorated to the point that he had almost no flesh on them. But once he loosened up a bit he produced heart-rending beauty.
Violinist Yehudi Menuhin comments at length about Szigeti in his own memoirs, remarking as many others did on Szigeti's intellectual approach to music, but in a somewhat more critical fashion:
Apart from Enesco, he was the most cultivated violinist I have ever known but while Enesco was a force of nature, Szigeti, slender, small, anxious, was a beautifully fashioned piece of porcelain, a priceless Sèvres vase. Curiously for a Hungarian, from whom one expects wild, energetic, spontaneous qualities, Szigeti travelled even farther up a one-way road of deliberate intellectualism. A young accompanist who worked with Szigeti told me that two hours concentration wouldn't get them beyond the first three bars of a sonata--so much analysis and ratiocination went into his practice ... A similar persnicketiness marked his adjudication. Shortly before he died in 1973, he was a member of our jury at the City of London Carl Flesch Concours ... I was struck not only by the sharpness of his intellect but also by what seemed to me the perversity of his opinions. Some particular aspect of a competitor's playing would hold his attention, and he would take violent issue with it, to the exclusion of everything else. For him a violinist was made or broken, a prize awarded or withheld, on details that to me scarcely mattered.
Nevertheless, Menuhin too referred to Szigeti as "a violinist whom I much admired and a man of whom I was very fond".
Output: What jury was the respected musician a part of before his death in 1973?
Passage: Among his fellow musicians, Szigeti was widely admired and respected. Violinist Nathan Milstein wrote that Szigeti... was an incredibly cultured musician. Actually his talent grew out of his culture ... I always admired him, and he was respected by musicians ... in his late years, he finally got the appreciation he deserved from the general public as well.
In his memoirs, published in 2004, cellist János Starker asserts that Szigeti was one of the giants among the violinists I had heard from childhood on, and my admiration for him is undiminished up to this day.
Starker then describes a recital he attended late in Szigeti's career, illustrating both the extent to which Szigeti was suffering from arthritis and his ability to still communicate his musical ideas effectively: 
"He invited me to his recital in Town Hall ... the first few minutes were excruciating: as I saw later, his fingers had deteriorated to the point that he had almost no flesh on them. But once he loosened up a bit he produced heart-rending beauty.
Violinist Yehudi Menuhin comments at length about Szigeti in his own memoirs, remarking as many others did on Szigeti's intellectual approach to music, but in a somewhat more critical fashion:
Apart from Enesco, he was the most cultivated violinist I have ever known but while Enesco was a force of nature, Szigeti, slender, small, anxious, was a beautifully fashioned piece of porcelain, a priceless Sèvres vase. Curiously for a Hungarian, from whom one expects wild, energetic, spontaneous qualities, Szigeti travelled even farther up a one-way road of deliberate intellectualism. A young accompanist who worked with Szigeti told me that two hours concentration wouldn't get them beyond the first three bars of a sonata--so much analysis and ratiocination went into his practice ... A similar persnicketiness marked his adjudication. Shortly before he died in 1973, he was a member of our jury at the City of London Carl Flesch Concours ... I was struck not only by the sharpness of his intellect but also by what seemed to me the perversity of his opinions. Some particular aspect of a competitor's playing would hold his attention, and he would take violent issue with it, to the exclusion of everything else. For him a violinist was made or broken, a prize awarded or withheld, on details that to me scarcely mattered.
Nevertheless, Menuhin too referred to Szigeti as "a violinist whom I much admired and a man of whom I was very fond".
Output: What is the last name of the person who said that the incredible cultured musician was "a violinist whom I much admired and a man of whom I was very fond"?
Passage: Among his fellow musicians, Szigeti was widely admired and respected. Violinist Nathan Milstein wrote that Szigeti... was an incredibly cultured musician. Actually his talent grew out of his culture ... I always admired him, and he was respected by musicians ... in his late years, he finally got the appreciation he deserved from the general public as well.
In his memoirs, published in 2004, cellist János Starker asserts that Szigeti was one of the giants among the violinists I had heard from childhood on, and my admiration for him is undiminished up to this day.
Starker then describes a recital he attended late in Szigeti's career, illustrating both the extent to which Szigeti was suffering from arthritis and his ability to still communicate his musical ideas effectively: 
"He invited me to his recital in Town Hall ... the first few minutes were excruciating: as I saw later, his fingers had deteriorated to the point that he had almost no flesh on them. But once he loosened up a bit he produced heart-rending beauty.
Violinist Yehudi Menuhin comments at length about Szigeti in his own memoirs, remarking as many others did on Szigeti's intellectual approach to music, but in a somewhat more critical fashion:
Apart from Enesco, he was the most cultivated violinist I have ever known but while Enesco was a force of nature, Szigeti, slender, small, anxious, was a beautifully fashioned piece of porcelain, a priceless Sèvres vase. Curiously for a Hungarian, from whom one expects wild, energetic, spontaneous qualities, Szigeti travelled even farther up a one-way road of deliberate intellectualism. A young accompanist who worked with Szigeti told me that two hours concentration wouldn't get them beyond the first three bars of a sonata--so much analysis and ratiocination went into his practice ... A similar persnicketiness marked his adjudication. Shortly before he died in 1973, he was a member of our jury at the City of London Carl Flesch Concours ... I was struck not only by the sharpness of his intellect but also by what seemed to me the perversity of his opinions. Some particular aspect of a competitor's playing would hold his attention, and he would take violent issue with it, to the exclusion of everything else. For him a violinist was made or broken, a prize awarded or withheld, on details that to me scarcely mattered.
Nevertheless, Menuhin too referred to Szigeti as "a violinist whom I much admired and a man of whom I was very fond".
Output: What is the last name of the violinist that the man suffering from arthritis was compared to by Yehudi Menuhin?
Passage: In 2004, the Loyalsock Creek Watershed Association installed a fence on the creek's banks near the cabins to limit pedestrian access and erosion. The association planted shrubs and trees in the same area to stabilize the creek's banks in 2008, and in September 2010 replaced more than 1,500 feet (460 m) of fence with a less visible version. On January 25, 2010 flooding caused by heavy rain and melt from 20 inches (510 mm) of snow "washed out a bridge" leading to the cabin area and destroyed 86 feet (26 m) of road there, leaving the park looking like "the set of disaster movie". The cabin area road needed $72,120 in repairs, the park was not fully restored until Memorial Day. Two floods hit the park in 2011, the first from Hurricane Irene on August 29, and the second from Tropical Storm Lee on September 8. Lee washed away about 20 to 22 short tons (18 to 20 t) of gravel used to make emergency repairs to roads in the park from Irene damage. Loyalsock Creek reached 20.4 feet (6.2 m) south of the park, and campers in the park had to be evacuated. Worlds End and Promised Land State Park had "significant damage to roads and bridges", damage to Loylasock State Forest roads was also heavy, and the DCNR estimated the two storms caused $3 to $4 million of damage to its forests and parks. Worlds End was closed for two weeks after the Lee flood.As of 2012, post-war facilities include the park office, five wash-houses and other modern restroom facilities, beach house with concession stand, chapel, amphitheater, and modern camping areas. Worlds End State Park is one of twenty-one chosen by the Pennsylvania Bureau of Parks for its "Twenty Must-See Pennsylvania State Parks" list. The DCNR describes it as "[v]irtually in a class by itself, this wild, rugged and rustic area seems almost untamed". It goes on to praise the opportunities for camping and hiking at the park, and its scenery and vistas.
Output: What storms did the DCNR estimate caused $3 to $4 million of damage to the forests and parks?
Passage: In 2004, the Loyalsock Creek Watershed Association installed a fence on the creek's banks near the cabins to limit pedestrian access and erosion. The association planted shrubs and trees in the same area to stabilize the creek's banks in 2008, and in September 2010 replaced more than 1,500 feet (460 m) of fence with a less visible version. On January 25, 2010 flooding caused by heavy rain and melt from 20 inches (510 mm) of snow "washed out a bridge" leading to the cabin area and destroyed 86 feet (26 m) of road there, leaving the park looking like "the set of disaster movie". The cabin area road needed $72,120 in repairs, the park was not fully restored until Memorial Day. Two floods hit the park in 2011, the first from Hurricane Irene on August 29, and the second from Tropical Storm Lee on September 8. Lee washed away about 20 to 22 short tons (18 to 20 t) of gravel used to make emergency repairs to roads in the park from Irene damage. Loyalsock Creek reached 20.4 feet (6.2 m) south of the park, and campers in the park had to be evacuated. Worlds End and Promised Land State Park had "significant damage to roads and bridges", damage to Loylasock State Forest roads was also heavy, and the DCNR estimated the two storms caused $3 to $4 million of damage to its forests and parks. Worlds End was closed for two weeks after the Lee flood.As of 2012, post-war facilities include the park office, five wash-houses and other modern restroom facilities, beach house with concession stand, chapel, amphitheater, and modern camping areas. Worlds End State Park is one of twenty-one chosen by the Pennsylvania Bureau of Parks for its "Twenty Must-See Pennsylvania State Parks" list. The DCNR describes it as "[v]irtually in a class by itself, this wild, rugged and rustic area seems almost untamed". It goes on to praise the opportunities for camping and hiking at the park, and its scenery and vistas.
Output: What does the DCNR describe as "[v]irtually in a class by itself"?
Passage: Lucille, a crippled man who is in a wheelchair from injuries sustained in the Gulf War, searches New Orleans for his friend Melvin so a documentary crew can follow Melvin.  They find him passed out on the street.  Melvin, an alcoholic and drug abuser, is in a downward spiral and spends most of his time partying with his friends.  His estranged ex-wife, Doreen, has filed a restraining order against him and taken sole custody of their young son, Rex.  Lucille wants Melvin to clean up and get sober, but Melvin only makes empty promises to eventually get his life together.
Lucas, a science teacher at the local community college, performs regular tests on Melvin, who has telekinetic powers – the ability to move objects with his mind. Lucas can not explain this except that Melvin has a slightly different brain structure than ordinary people.  Melvin will not see a specialist despite Lucas' urging. Besides Lucas' tests, Melvin uses his powers to perform street shows for drug money.  Lucille, however, blames the local drug dealer, Nathan, of being behind violence in the neighborhood and does not like him.  This is echoed by Jimmy, a local cop.
After a night of hard partying, Melvin's heart stops.  When he wakes, the doctors tell him that he was clinically dead for several minutes.  Changed by this experience, Melvin announces that he intends to become sober for the sake of Rex.  Impressed, Jimmy requests that Melvin help clean up the neighborhood.  After practicing his abilities, Melvin confronts Nathan's gang and threatens them.  Nathan has Lucille shot in retaliation.  After Lucille tells him to leave him alone, Melvin falls back into alcoholism and parties with a friend who was recently released from jail.
Output: Who was Rex's mother once married to?
Passage: Lucille, a crippled man who is in a wheelchair from injuries sustained in the Gulf War, searches New Orleans for his friend Melvin so a documentary crew can follow Melvin.  They find him passed out on the street.  Melvin, an alcoholic and drug abuser, is in a downward spiral and spends most of his time partying with his friends.  His estranged ex-wife, Doreen, has filed a restraining order against him and taken sole custody of their young son, Rex.  Lucille wants Melvin to clean up and get sober, but Melvin only makes empty promises to eventually get his life together.
Lucas, a science teacher at the local community college, performs regular tests on Melvin, who has telekinetic powers – the ability to move objects with his mind. Lucas can not explain this except that Melvin has a slightly different brain structure than ordinary people.  Melvin will not see a specialist despite Lucas' urging. Besides Lucas' tests, Melvin uses his powers to perform street shows for drug money.  Lucille, however, blames the local drug dealer, Nathan, of being behind violence in the neighborhood and does not like him.  This is echoed by Jimmy, a local cop.
After a night of hard partying, Melvin's heart stops.  When he wakes, the doctors tell him that he was clinically dead for several minutes.  Changed by this experience, Melvin announces that he intends to become sober for the sake of Rex.  Impressed, Jimmy requests that Melvin help clean up the neighborhood.  After practicing his abilities, Melvin confronts Nathan's gang and threatens them.  Nathan has Lucille shot in retaliation.  After Lucille tells him to leave him alone, Melvin falls back into alcoholism and parties with a friend who was recently released from jail.
Output: What motivation does Doreen's ex-husband have for performing on the street?
Passage: Lucille, a crippled man who is in a wheelchair from injuries sustained in the Gulf War, searches New Orleans for his friend Melvin so a documentary crew can follow Melvin.  They find him passed out on the street.  Melvin, an alcoholic and drug abuser, is in a downward spiral and spends most of his time partying with his friends.  His estranged ex-wife, Doreen, has filed a restraining order against him and taken sole custody of their young son, Rex.  Lucille wants Melvin to clean up and get sober, but Melvin only makes empty promises to eventually get his life together.
Lucas, a science teacher at the local community college, performs regular tests on Melvin, who has telekinetic powers – the ability to move objects with his mind. Lucas can not explain this except that Melvin has a slightly different brain structure than ordinary people.  Melvin will not see a specialist despite Lucas' urging. Besides Lucas' tests, Melvin uses his powers to perform street shows for drug money.  Lucille, however, blames the local drug dealer, Nathan, of being behind violence in the neighborhood and does not like him.  This is echoed by Jimmy, a local cop.
After a night of hard partying, Melvin's heart stops.  When he wakes, the doctors tell him that he was clinically dead for several minutes.  Changed by this experience, Melvin announces that he intends to become sober for the sake of Rex.  Impressed, Jimmy requests that Melvin help clean up the neighborhood.  After practicing his abilities, Melvin confronts Nathan's gang and threatens them.  Nathan has Lucille shot in retaliation.  After Lucille tells him to leave him alone, Melvin falls back into alcoholism and parties with a friend who was recently released from jail.
Output: Who does the drug dealer have shot?