niryuu/sni-each-converted huggingface dataset:
Passage: Medina gets up after hearing a voice in her dreams. She prepares to go out, has a coffee, and does a quick breath relaxation exercise. Her friend, Sidonia, arrives and finds Medina, who is looking at herself in the mirror with a sad expression. Sidonia tries to lighten the moment, and reminds Medina that her friends and family are waiting for her. Medina gets herself together and they head off to the funeral service for Medina's fiancé.
Medina is with her friend Tesla, who tells her she is love with Medina's brother, Enzo, and is thinking of getting engaged. Medina is a bit surprised, but congratulates her. They try to visit an art exhibit, but the female security guard kicks them out, as she remembers the duo's wild reputation. Medine is upset, but Tesla invites her and Enzo for drinks. Tesla and Enzo cheer Medina up with their light conversation.

Quinn looks depressed as he meets up with his friend Fera at the street. He tells her that Nilda left him and took everything, including his possessions. He shows her the "Dear John letter" composed on bath tissue. Fera's husband, Camden, arrives and they explain the situation. Fera and Camden console Quinn but he leaves to clear his mind. They follow Quinn to make sure he does not do something regretful.
Tesla reminds Medina of an upcoming martial arts promotion test. Medina prepares by doing some stretching, practicing footwork, and twirling weapons including swords, staffs and spears. Meanwhile, Fera is increasingly concerned about Quinn. Camden notes that Fera and Quinn act like siblings, but for now, all they can do is continue to look after Quinn. They head to a show at the Lincoln Center.
Output: What is the first name of the person who Nilda left?
Passage: Medina gets up after hearing a voice in her dreams. She prepares to go out, has a coffee, and does a quick breath relaxation exercise. Her friend, Sidonia, arrives and finds Medina, who is looking at herself in the mirror with a sad expression. Sidonia tries to lighten the moment, and reminds Medina that her friends and family are waiting for her. Medina gets herself together and they head off to the funeral service for Medina's fiancé.
Medina is with her friend Tesla, who tells her she is love with Medina's brother, Enzo, and is thinking of getting engaged. Medina is a bit surprised, but congratulates her. They try to visit an art exhibit, but the female security guard kicks them out, as she remembers the duo's wild reputation. Medine is upset, but Tesla invites her and Enzo for drinks. Tesla and Enzo cheer Medina up with their light conversation.

Quinn looks depressed as he meets up with his friend Fera at the street. He tells her that Nilda left him and took everything, including his possessions. He shows her the "Dear John letter" composed on bath tissue. Fera's husband, Camden, arrives and they explain the situation. Fera and Camden console Quinn but he leaves to clear his mind. They follow Quinn to make sure he does not do something regretful.
Tesla reminds Medina of an upcoming martial arts promotion test. Medina prepares by doing some stretching, practicing footwork, and twirling weapons including swords, staffs and spears. Meanwhile, Fera is increasingly concerned about Quinn. Camden notes that Fera and Quinn act like siblings, but for now, all they can do is continue to look after Quinn. They head to a show at the Lincoln Center.
Output: What is the first name of the person whose possessions Nilda took?
Passage: Medina gets up after hearing a voice in her dreams. She prepares to go out, has a coffee, and does a quick breath relaxation exercise. Her friend, Sidonia, arrives and finds Medina, who is looking at herself in the mirror with a sad expression. Sidonia tries to lighten the moment, and reminds Medina that her friends and family are waiting for her. Medina gets herself together and they head off to the funeral service for Medina's fiancé.
Medina is with her friend Tesla, who tells her she is love with Medina's brother, Enzo, and is thinking of getting engaged. Medina is a bit surprised, but congratulates her. They try to visit an art exhibit, but the female security guard kicks them out, as she remembers the duo's wild reputation. Medine is upset, but Tesla invites her and Enzo for drinks. Tesla and Enzo cheer Medina up with their light conversation.

Quinn looks depressed as he meets up with his friend Fera at the street. He tells her that Nilda left him and took everything, including his possessions. He shows her the "Dear John letter" composed on bath tissue. Fera's husband, Camden, arrives and they explain the situation. Fera and Camden console Quinn but he leaves to clear his mind. They follow Quinn to make sure he does not do something regretful.
Tesla reminds Medina of an upcoming martial arts promotion test. Medina prepares by doing some stretching, practicing footwork, and twirling weapons including swords, staffs and spears. Meanwhile, Fera is increasingly concerned about Quinn. Camden notes that Fera and Quinn act like siblings, but for now, all they can do is continue to look after Quinn. They head to a show at the Lincoln Center.
Output: What is the first name of the person who wrote the dear John letter?
Passage: Medina gets up after hearing a voice in her dreams. She prepares to go out, has a coffee, and does a quick breath relaxation exercise. Her friend, Sidonia, arrives and finds Medina, who is looking at herself in the mirror with a sad expression. Sidonia tries to lighten the moment, and reminds Medina that her friends and family are waiting for her. Medina gets herself together and they head off to the funeral service for Medina's fiancé.
Medina is with her friend Tesla, who tells her she is love with Medina's brother, Enzo, and is thinking of getting engaged. Medina is a bit surprised, but congratulates her. They try to visit an art exhibit, but the female security guard kicks them out, as she remembers the duo's wild reputation. Medine is upset, but Tesla invites her and Enzo for drinks. Tesla and Enzo cheer Medina up with their light conversation.

Quinn looks depressed as he meets up with his friend Fera at the street. He tells her that Nilda left him and took everything, including his possessions. He shows her the "Dear John letter" composed on bath tissue. Fera's husband, Camden, arrives and they explain the situation. Fera and Camden console Quinn but he leaves to clear his mind. They follow Quinn to make sure he does not do something regretful.
Tesla reminds Medina of an upcoming martial arts promotion test. Medina prepares by doing some stretching, practicing footwork, and twirling weapons including swords, staffs and spears. Meanwhile, Fera is increasingly concerned about Quinn. Camden notes that Fera and Quinn act like siblings, but for now, all they can do is continue to look after Quinn. They head to a show at the Lincoln Center.
Output: What are the first names of the people who go to a show at the Lincoln Center?
Passage: In 1916, childhood best friends, Bob Wilson and Fred von Bergen, are test pilots working for an American company that builds bombers for the European allies. Since he is German-born and faces prejudice against his heritage, Fred loses his job and, unable to find other employment, decides to return to Germany to fight for his homeland. Although he has no special attachment to the German cause, Bob quits the aviation company and joins his friend in Germany. 
On their way to a German airfield, Red Cross nurse Alida Hoffman accidentally runs Bob and Fred off the road, Both men are immediately drawn to Alida, especially Bob although Fred is more shy. After Bob's first unsuccessful mission, Captain Wolters, the squadron's tyrannical leader, expresses his doubt about his loyalty but, desperate for pilots, gives him another chance. 
As the United States is drawn into the war, instead of sending him into a crucial air battle, Wolters arrests Bob. Fred, heartbroken that Alida has chosen Bob, quarrels with his friend, calling him a coward. Later, however, Fred allows his friend to escape from a firing squad and flee to the Allied lines. 
To prove his allegiance, Bob leads British bombers to the German base, while Fred is told by Wolters that he must shoot down Bob to prove his loyalty. Neither man is capable of killing the other, and, in the end, Fred sacrifices his life for Bob. After the war, Bob returns to Germany to marry Alida. The newly married couple then returns to the United States, and pay their respects to Fred's mother.
Output: What is the first name of the man that is fired for being German-born?
Passage: In 1916, childhood best friends, Bob Wilson and Fred von Bergen, are test pilots working for an American company that builds bombers for the European allies. Since he is German-born and faces prejudice against his heritage, Fred loses his job and, unable to find other employment, decides to return to Germany to fight for his homeland. Although he has no special attachment to the German cause, Bob quits the aviation company and joins his friend in Germany. 
On their way to a German airfield, Red Cross nurse Alida Hoffman accidentally runs Bob and Fred off the road, Both men are immediately drawn to Alida, especially Bob although Fred is more shy. After Bob's first unsuccessful mission, Captain Wolters, the squadron's tyrannical leader, expresses his doubt about his loyalty but, desperate for pilots, gives him another chance. 
As the United States is drawn into the war, instead of sending him into a crucial air battle, Wolters arrests Bob. Fred, heartbroken that Alida has chosen Bob, quarrels with his friend, calling him a coward. Later, however, Fred allows his friend to escape from a firing squad and flee to the Allied lines. 
To prove his allegiance, Bob leads British bombers to the German base, while Fred is told by Wolters that he must shoot down Bob to prove his loyalty. Neither man is capable of killing the other, and, in the end, Fred sacrifices his life for Bob. After the war, Bob returns to Germany to marry Alida. The newly married couple then returns to the United States, and pay their respects to Fred's mother.
Output: What is the first name of the person that helps the arrested man escape  to Allied lines?
Passage: While Raff was able to offer "practical suggestions [in orchestration] which were of great value to Liszt", there may have been "a basic misunderstanding" of the nature of their collaboration. Liszt wanted to learn more about instrumentation and acknowledged Raff's greater expertise in this area. Hence, he gave Raff piano sketches to orchestrate, just as he had done earlier with Conradi—"so that he might rehearse them, reflect on them, and then, as his confidence in the orchestra grew, change them." Raff disagreed, having the impression that Liszt wanted him on equal terms as a full collaborator. While attending an 1850 rehearsal of Prometheus, he told Bernhard Cossmann, who sat next to him, "Listen to the instrumentation. It is by me."Raff continued making such claims about his role in Liszt's compositional process. Some of these accounts, published posthumously by Die Musik in 1902 and 1903, suggest that he was an equal collaborator with Liszt. Raff's assertions were supported by Joachim, who had been active in Weimar at approximately the same time as Raff. Walker writes that Joachim later recalled to Raff's widow "that he had seen Raff 'produce full orchestral scores from piano sketches.'" Joachim also told Raff's biographer Andreas Moser that "the E-flat-major Piano Concerto was orchestrated from beginning to end by Raff." Raff's and Joachim's statements effectively questioned the authorship of Liszt's orchestral music, especially the symphonic poems. This speculation was debased when composer and Liszt scholar Peter Raabe carefully compared all sketches then known of Liszt's orchestral works with the published versions of the same works. Raabe demonstrated that, regardless of the position with first drafts, or of how much assistance Liszt may have received from Raff or Conradi at that point, every note of the final versions represents Liszt's intentions.
Output: What is the last name of the person who gave piano sketches to orchestrate to Conradi?
Passage: While Raff was able to offer "practical suggestions [in orchestration] which were of great value to Liszt", there may have been "a basic misunderstanding" of the nature of their collaboration. Liszt wanted to learn more about instrumentation and acknowledged Raff's greater expertise in this area. Hence, he gave Raff piano sketches to orchestrate, just as he had done earlier with Conradi—"so that he might rehearse them, reflect on them, and then, as his confidence in the orchestra grew, change them." Raff disagreed, having the impression that Liszt wanted him on equal terms as a full collaborator. While attending an 1850 rehearsal of Prometheus, he told Bernhard Cossmann, who sat next to him, "Listen to the instrumentation. It is by me."Raff continued making such claims about his role in Liszt's compositional process. Some of these accounts, published posthumously by Die Musik in 1902 and 1903, suggest that he was an equal collaborator with Liszt. Raff's assertions were supported by Joachim, who had been active in Weimar at approximately the same time as Raff. Walker writes that Joachim later recalled to Raff's widow "that he had seen Raff 'produce full orchestral scores from piano sketches.'" Joachim also told Raff's biographer Andreas Moser that "the E-flat-major Piano Concerto was orchestrated from beginning to end by Raff." Raff's and Joachim's statements effectively questioned the authorship of Liszt's orchestral music, especially the symphonic poems. This speculation was debased when composer and Liszt scholar Peter Raabe carefully compared all sketches then known of Liszt's orchestral works with the published versions of the same works. Raabe demonstrated that, regardless of the position with first drafts, or of how much assistance Liszt may have received from Raff or Conradi at that point, every note of the final versions represents Liszt's intentions.
Output: What are the last names of the people Liszt gave piano sketches to orchestrate?
Passage: While Raff was able to offer "practical suggestions [in orchestration] which were of great value to Liszt", there may have been "a basic misunderstanding" of the nature of their collaboration. Liszt wanted to learn more about instrumentation and acknowledged Raff's greater expertise in this area. Hence, he gave Raff piano sketches to orchestrate, just as he had done earlier with Conradi—"so that he might rehearse them, reflect on them, and then, as his confidence in the orchestra grew, change them." Raff disagreed, having the impression that Liszt wanted him on equal terms as a full collaborator. While attending an 1850 rehearsal of Prometheus, he told Bernhard Cossmann, who sat next to him, "Listen to the instrumentation. It is by me."Raff continued making such claims about his role in Liszt's compositional process. Some of these accounts, published posthumously by Die Musik in 1902 and 1903, suggest that he was an equal collaborator with Liszt. Raff's assertions were supported by Joachim, who had been active in Weimar at approximately the same time as Raff. Walker writes that Joachim later recalled to Raff's widow "that he had seen Raff 'produce full orchestral scores from piano sketches.'" Joachim also told Raff's biographer Andreas Moser that "the E-flat-major Piano Concerto was orchestrated from beginning to end by Raff." Raff's and Joachim's statements effectively questioned the authorship of Liszt's orchestral music, especially the symphonic poems. This speculation was debased when composer and Liszt scholar Peter Raabe carefully compared all sketches then known of Liszt's orchestral works with the published versions of the same works. Raabe demonstrated that, regardless of the position with first drafts, or of how much assistance Liszt may have received from Raff or Conradi at that point, every note of the final versions represents Liszt's intentions.
Output: What is the last name of the person who sat next to Bernhard?
Passage: While Raff was able to offer "practical suggestions [in orchestration] which were of great value to Liszt", there may have been "a basic misunderstanding" of the nature of their collaboration. Liszt wanted to learn more about instrumentation and acknowledged Raff's greater expertise in this area. Hence, he gave Raff piano sketches to orchestrate, just as he had done earlier with Conradi—"so that he might rehearse them, reflect on them, and then, as his confidence in the orchestra grew, change them." Raff disagreed, having the impression that Liszt wanted him on equal terms as a full collaborator. While attending an 1850 rehearsal of Prometheus, he told Bernhard Cossmann, who sat next to him, "Listen to the instrumentation. It is by me."Raff continued making such claims about his role in Liszt's compositional process. Some of these accounts, published posthumously by Die Musik in 1902 and 1903, suggest that he was an equal collaborator with Liszt. Raff's assertions were supported by Joachim, who had been active in Weimar at approximately the same time as Raff. Walker writes that Joachim later recalled to Raff's widow "that he had seen Raff 'produce full orchestral scores from piano sketches.'" Joachim also told Raff's biographer Andreas Moser that "the E-flat-major Piano Concerto was orchestrated from beginning to end by Raff." Raff's and Joachim's statements effectively questioned the authorship of Liszt's orchestral music, especially the symphonic poems. This speculation was debased when composer and Liszt scholar Peter Raabe carefully compared all sketches then known of Liszt's orchestral works with the published versions of the same works. Raabe demonstrated that, regardless of the position with first drafts, or of how much assistance Liszt may have received from Raff or Conradi at that point, every note of the final versions represents Liszt's intentions.
Output: What is the last name of the person whose accounts were published posthumously?
Passage: While Raff was able to offer "practical suggestions [in orchestration] which were of great value to Liszt", there may have been "a basic misunderstanding" of the nature of their collaboration. Liszt wanted to learn more about instrumentation and acknowledged Raff's greater expertise in this area. Hence, he gave Raff piano sketches to orchestrate, just as he had done earlier with Conradi—"so that he might rehearse them, reflect on them, and then, as his confidence in the orchestra grew, change them." Raff disagreed, having the impression that Liszt wanted him on equal terms as a full collaborator. While attending an 1850 rehearsal of Prometheus, he told Bernhard Cossmann, who sat next to him, "Listen to the instrumentation. It is by me."Raff continued making such claims about his role in Liszt's compositional process. Some of these accounts, published posthumously by Die Musik in 1902 and 1903, suggest that he was an equal collaborator with Liszt. Raff's assertions were supported by Joachim, who had been active in Weimar at approximately the same time as Raff. Walker writes that Joachim later recalled to Raff's widow "that he had seen Raff 'produce full orchestral scores from piano sketches.'" Joachim also told Raff's biographer Andreas Moser that "the E-flat-major Piano Concerto was orchestrated from beginning to end by Raff." Raff's and Joachim's statements effectively questioned the authorship of Liszt's orchestral music, especially the symphonic poems. This speculation was debased when composer and Liszt scholar Peter Raabe carefully compared all sketches then known of Liszt's orchestral works with the published versions of the same works. Raabe demonstrated that, regardless of the position with first drafts, or of how much assistance Liszt may have received from Raff or Conradi at that point, every note of the final versions represents Liszt's intentions.
Output: What is the last name of the person whose posthumously published accounts suggested he was a full collaborator?
Passage: While Raff was able to offer "practical suggestions [in orchestration] which were of great value to Liszt", there may have been "a basic misunderstanding" of the nature of their collaboration. Liszt wanted to learn more about instrumentation and acknowledged Raff's greater expertise in this area. Hence, he gave Raff piano sketches to orchestrate, just as he had done earlier with Conradi—"so that he might rehearse them, reflect on them, and then, as his confidence in the orchestra grew, change them." Raff disagreed, having the impression that Liszt wanted him on equal terms as a full collaborator. While attending an 1850 rehearsal of Prometheus, he told Bernhard Cossmann, who sat next to him, "Listen to the instrumentation. It is by me."Raff continued making such claims about his role in Liszt's compositional process. Some of these accounts, published posthumously by Die Musik in 1902 and 1903, suggest that he was an equal collaborator with Liszt. Raff's assertions were supported by Joachim, who had been active in Weimar at approximately the same time as Raff. Walker writes that Joachim later recalled to Raff's widow "that he had seen Raff 'produce full orchestral scores from piano sketches.'" Joachim also told Raff's biographer Andreas Moser that "the E-flat-major Piano Concerto was orchestrated from beginning to end by Raff." Raff's and Joachim's statements effectively questioned the authorship of Liszt's orchestral music, especially the symphonic poems. This speculation was debased when composer and Liszt scholar Peter Raabe carefully compared all sketches then known of Liszt's orchestral works with the published versions of the same works. Raabe demonstrated that, regardless of the position with first drafts, or of how much assistance Liszt may have received from Raff or Conradi at that point, every note of the final versions represents Liszt's intentions.
Output: What is the first name of the person who determined that every note of the final versions represents Liszt's intentions?
Passage: While Raff was able to offer "practical suggestions [in orchestration] which were of great value to Liszt", there may have been "a basic misunderstanding" of the nature of their collaboration. Liszt wanted to learn more about instrumentation and acknowledged Raff's greater expertise in this area. Hence, he gave Raff piano sketches to orchestrate, just as he had done earlier with Conradi—"so that he might rehearse them, reflect on them, and then, as his confidence in the orchestra grew, change them." Raff disagreed, having the impression that Liszt wanted him on equal terms as a full collaborator. While attending an 1850 rehearsal of Prometheus, he told Bernhard Cossmann, who sat next to him, "Listen to the instrumentation. It is by me."Raff continued making such claims about his role in Liszt's compositional process. Some of these accounts, published posthumously by Die Musik in 1902 and 1903, suggest that he was an equal collaborator with Liszt. Raff's assertions were supported by Joachim, who had been active in Weimar at approximately the same time as Raff. Walker writes that Joachim later recalled to Raff's widow "that he had seen Raff 'produce full orchestral scores from piano sketches.'" Joachim also told Raff's biographer Andreas Moser that "the E-flat-major Piano Concerto was orchestrated from beginning to end by Raff." Raff's and Joachim's statements effectively questioned the authorship of Liszt's orchestral music, especially the symphonic poems. This speculation was debased when composer and Liszt scholar Peter Raabe carefully compared all sketches then known of Liszt's orchestral works with the published versions of the same works. Raabe demonstrated that, regardless of the position with first drafts, or of how much assistance Liszt may have received from Raff or Conradi at that point, every note of the final versions represents Liszt's intentions.
Output: What is the name of the person who gave Raff piano sketches to orchestrate?
Passage: While Raff was able to offer "practical suggestions [in orchestration] which were of great value to Liszt", there may have been "a basic misunderstanding" of the nature of their collaboration. Liszt wanted to learn more about instrumentation and acknowledged Raff's greater expertise in this area. Hence, he gave Raff piano sketches to orchestrate, just as he had done earlier with Conradi—"so that he might rehearse them, reflect on them, and then, as his confidence in the orchestra grew, change them." Raff disagreed, having the impression that Liszt wanted him on equal terms as a full collaborator. While attending an 1850 rehearsal of Prometheus, he told Bernhard Cossmann, who sat next to him, "Listen to the instrumentation. It is by me."Raff continued making such claims about his role in Liszt's compositional process. Some of these accounts, published posthumously by Die Musik in 1902 and 1903, suggest that he was an equal collaborator with Liszt. Raff's assertions were supported by Joachim, who had been active in Weimar at approximately the same time as Raff. Walker writes that Joachim later recalled to Raff's widow "that he had seen Raff 'produce full orchestral scores from piano sketches.'" Joachim also told Raff's biographer Andreas Moser that "the E-flat-major Piano Concerto was orchestrated from beginning to end by Raff." Raff's and Joachim's statements effectively questioned the authorship of Liszt's orchestral music, especially the symphonic poems. This speculation was debased when composer and Liszt scholar Peter Raabe carefully compared all sketches then known of Liszt's orchestral works with the published versions of the same works. Raabe demonstrated that, regardless of the position with first drafts, or of how much assistance Liszt may have received from Raff or Conradi at that point, every note of the final versions represents Liszt's intentions.
Output: What is the name of the person who sat next to Bernhard Cossmann while attending an 1850 rehearsal of Prometheus?
Passage: While Raff was able to offer "practical suggestions [in orchestration] which were of great value to Liszt", there may have been "a basic misunderstanding" of the nature of their collaboration. Liszt wanted to learn more about instrumentation and acknowledged Raff's greater expertise in this area. Hence, he gave Raff piano sketches to orchestrate, just as he had done earlier with Conradi—"so that he might rehearse them, reflect on them, and then, as his confidence in the orchestra grew, change them." Raff disagreed, having the impression that Liszt wanted him on equal terms as a full collaborator. While attending an 1850 rehearsal of Prometheus, he told Bernhard Cossmann, who sat next to him, "Listen to the instrumentation. It is by me."Raff continued making such claims about his role in Liszt's compositional process. Some of these accounts, published posthumously by Die Musik in 1902 and 1903, suggest that he was an equal collaborator with Liszt. Raff's assertions were supported by Joachim, who had been active in Weimar at approximately the same time as Raff. Walker writes that Joachim later recalled to Raff's widow "that he had seen Raff 'produce full orchestral scores from piano sketches.'" Joachim also told Raff's biographer Andreas Moser that "the E-flat-major Piano Concerto was orchestrated from beginning to end by Raff." Raff's and Joachim's statements effectively questioned the authorship of Liszt's orchestral music, especially the symphonic poems. This speculation was debased when composer and Liszt scholar Peter Raabe carefully compared all sketches then known of Liszt's orchestral works with the published versions of the same works. Raabe demonstrated that, regardless of the position with first drafts, or of how much assistance Liszt may have received from Raff or Conradi at that point, every note of the final versions represents Liszt's intentions.
Output: What is the name of the person who told Bernhard Cossmann to "listen to the instrumentation" and claimed it was his own?
Passage: While Raff was able to offer "practical suggestions [in orchestration] which were of great value to Liszt", there may have been "a basic misunderstanding" of the nature of their collaboration. Liszt wanted to learn more about instrumentation and acknowledged Raff's greater expertise in this area. Hence, he gave Raff piano sketches to orchestrate, just as he had done earlier with Conradi—"so that he might rehearse them, reflect on them, and then, as his confidence in the orchestra grew, change them." Raff disagreed, having the impression that Liszt wanted him on equal terms as a full collaborator. While attending an 1850 rehearsal of Prometheus, he told Bernhard Cossmann, who sat next to him, "Listen to the instrumentation. It is by me."Raff continued making such claims about his role in Liszt's compositional process. Some of these accounts, published posthumously by Die Musik in 1902 and 1903, suggest that he was an equal collaborator with Liszt. Raff's assertions were supported by Joachim, who had been active in Weimar at approximately the same time as Raff. Walker writes that Joachim later recalled to Raff's widow "that he had seen Raff 'produce full orchestral scores from piano sketches.'" Joachim also told Raff's biographer Andreas Moser that "the E-flat-major Piano Concerto was orchestrated from beginning to end by Raff." Raff's and Joachim's statements effectively questioned the authorship of Liszt's orchestral music, especially the symphonic poems. This speculation was debased when composer and Liszt scholar Peter Raabe carefully compared all sketches then known of Liszt's orchestral works with the published versions of the same works. Raabe demonstrated that, regardless of the position with first drafts, or of how much assistance Liszt may have received from Raff or Conradi at that point, every note of the final versions represents Liszt's intentions.
Output: What is the name of the person suggested to be an equal collaborator with Liszt according to some accounts published posthumously by Die Musik?
Passage: While Raff was able to offer "practical suggestions [in orchestration] which were of great value to Liszt", there may have been "a basic misunderstanding" of the nature of their collaboration. Liszt wanted to learn more about instrumentation and acknowledged Raff's greater expertise in this area. Hence, he gave Raff piano sketches to orchestrate, just as he had done earlier with Conradi—"so that he might rehearse them, reflect on them, and then, as his confidence in the orchestra grew, change them." Raff disagreed, having the impression that Liszt wanted him on equal terms as a full collaborator. While attending an 1850 rehearsal of Prometheus, he told Bernhard Cossmann, who sat next to him, "Listen to the instrumentation. It is by me."Raff continued making such claims about his role in Liszt's compositional process. Some of these accounts, published posthumously by Die Musik in 1902 and 1903, suggest that he was an equal collaborator with Liszt. Raff's assertions were supported by Joachim, who had been active in Weimar at approximately the same time as Raff. Walker writes that Joachim later recalled to Raff's widow "that he had seen Raff 'produce full orchestral scores from piano sketches.'" Joachim also told Raff's biographer Andreas Moser that "the E-flat-major Piano Concerto was orchestrated from beginning to end by Raff." Raff's and Joachim's statements effectively questioned the authorship of Liszt's orchestral music, especially the symphonic poems. This speculation was debased when composer and Liszt scholar Peter Raabe carefully compared all sketches then known of Liszt's orchestral works with the published versions of the same works. Raabe demonstrated that, regardless of the position with first drafts, or of how much assistance Liszt may have received from Raff or Conradi at that point, every note of the final versions represents Liszt's intentions.
Output: What is the name of the person who had earlier given Conradi piano sketches to illustrate?
Passage: Charles spoofed this double standard on the television comedy show Saturday Night Live in 1977. He hosted an episode and had the original band he toured with in the 1950s to join him. In one skit, he tells a producer that he wants to record the song, but the producer tells him that a white band named the "Young Caucasians", composed of beaming white teenagers, are to record it first, which they do on the show, in a chaste, sanitized, and unexciting performance. When Charles and his band counter with their original version, Garrett Morris tells them, "Sorry. That'll never make it."Charles closed every show he played for the rest of his career with the song, later stating, "'What'd I Say' is my last song onstage. When I do 'What'd I Say', you don't have to worry about it—that's the end of me; there ain't no encore, no nothin'. I'm finished!"It was ranked tenth on Rolling Stone's list of "The 500 Greatest Songs of All Time", with the summary, "Charles' grunt-'n'-groan exchanges with the Raeletts were the closest you could get to the sound of orgasm on Top Forty radio during the Eisenhower era". In 2000, it ranked number 43 on VH1's 100 Greatest Songs in Rock and Roll and number 96 on VH1's 100 Greatest Dance Songs, being the oldest song in the latter ranking. The same year it was chosen by National Public Radio as one of the 100 most influential songs of the 20th century. A central scene in the 2004 biopic Ray features the improvisation of the song performed by Jamie Foxx, who won an Academy Award for his portrayal of Charles. For its historical, artistic, and cultural significance, the Library of Congress added it to the U.S. National Recording Registry in 2002. The Rock & Roll Hall of Fame featured it as one of 500 Songs that Shaped Rock and Roll in 2007.
Output: On what list was "What'd I Say" the oldest song?
Passage: Charles spoofed this double standard on the television comedy show Saturday Night Live in 1977. He hosted an episode and had the original band he toured with in the 1950s to join him. In one skit, he tells a producer that he wants to record the song, but the producer tells him that a white band named the "Young Caucasians", composed of beaming white teenagers, are to record it first, which they do on the show, in a chaste, sanitized, and unexciting performance. When Charles and his band counter with their original version, Garrett Morris tells them, "Sorry. That'll never make it."Charles closed every show he played for the rest of his career with the song, later stating, "'What'd I Say' is my last song onstage. When I do 'What'd I Say', you don't have to worry about it—that's the end of me; there ain't no encore, no nothin'. I'm finished!"It was ranked tenth on Rolling Stone's list of "The 500 Greatest Songs of All Time", with the summary, "Charles' grunt-'n'-groan exchanges with the Raeletts were the closest you could get to the sound of orgasm on Top Forty radio during the Eisenhower era". In 2000, it ranked number 43 on VH1's 100 Greatest Songs in Rock and Roll and number 96 on VH1's 100 Greatest Dance Songs, being the oldest song in the latter ranking. The same year it was chosen by National Public Radio as one of the 100 most influential songs of the 20th century. A central scene in the 2004 biopic Ray features the improvisation of the song performed by Jamie Foxx, who won an Academy Award for his portrayal of Charles. For its historical, artistic, and cultural significance, the Library of Congress added it to the U.S. National Recording Registry in 2002. The Rock & Roll Hall of Fame featured it as one of 500 Songs that Shaped Rock and Roll in 2007.
Output: Who won an award for acting the part of the singer of "What'd I Say"?
Passage: Charles spoofed this double standard on the television comedy show Saturday Night Live in 1977. He hosted an episode and had the original band he toured with in the 1950s to join him. In one skit, he tells a producer that he wants to record the song, but the producer tells him that a white band named the "Young Caucasians", composed of beaming white teenagers, are to record it first, which they do on the show, in a chaste, sanitized, and unexciting performance. When Charles and his band counter with their original version, Garrett Morris tells them, "Sorry. That'll never make it."Charles closed every show he played for the rest of his career with the song, later stating, "'What'd I Say' is my last song onstage. When I do 'What'd I Say', you don't have to worry about it—that's the end of me; there ain't no encore, no nothin'. I'm finished!"It was ranked tenth on Rolling Stone's list of "The 500 Greatest Songs of All Time", with the summary, "Charles' grunt-'n'-groan exchanges with the Raeletts were the closest you could get to the sound of orgasm on Top Forty radio during the Eisenhower era". In 2000, it ranked number 43 on VH1's 100 Greatest Songs in Rock and Roll and number 96 on VH1's 100 Greatest Dance Songs, being the oldest song in the latter ranking. The same year it was chosen by National Public Radio as one of the 100 most influential songs of the 20th century. A central scene in the 2004 biopic Ray features the improvisation of the song performed by Jamie Foxx, who won an Academy Award for his portrayal of Charles. For its historical, artistic, and cultural significance, the Library of Congress added it to the U.S. National Recording Registry in 2002. The Rock & Roll Hall of Fame featured it as one of 500 Songs that Shaped Rock and Roll in 2007.
Output: Why was "What'd I Say" added to the U. S. National Recording Registry?
Passage: Charles spoofed this double standard on the television comedy show Saturday Night Live in 1977. He hosted an episode and had the original band he toured with in the 1950s to join him. In one skit, he tells a producer that he wants to record the song, but the producer tells him that a white band named the "Young Caucasians", composed of beaming white teenagers, are to record it first, which they do on the show, in a chaste, sanitized, and unexciting performance. When Charles and his band counter with their original version, Garrett Morris tells them, "Sorry. That'll never make it."Charles closed every show he played for the rest of his career with the song, later stating, "'What'd I Say' is my last song onstage. When I do 'What'd I Say', you don't have to worry about it—that's the end of me; there ain't no encore, no nothin'. I'm finished!"It was ranked tenth on Rolling Stone's list of "The 500 Greatest Songs of All Time", with the summary, "Charles' grunt-'n'-groan exchanges with the Raeletts were the closest you could get to the sound of orgasm on Top Forty radio during the Eisenhower era". In 2000, it ranked number 43 on VH1's 100 Greatest Songs in Rock and Roll and number 96 on VH1's 100 Greatest Dance Songs, being the oldest song in the latter ranking. The same year it was chosen by National Public Radio as one of the 100 most influential songs of the 20th century. A central scene in the 2004 biopic Ray features the improvisation of the song performed by Jamie Foxx, who won an Academy Award for his portrayal of Charles. For its historical, artistic, and cultural significance, the Library of Congress added it to the U.S. National Recording Registry in 2002. The Rock & Roll Hall of Fame featured it as one of 500 Songs that Shaped Rock and Roll in 2007.
Output: What organization featured "What'd I Say" as one of the 500 Songs that Shaped Rock and Roll?
Passage: Sherlock Holmes and Dr. Watson are called to Whitechapel after learning about a series of strange murders only two years after the Jack the Ripper murders in the same neighborhood. The local belief is that the killings are the work of a vampire brought back from a recent mission in Guyana. As they investigate the deaths, they engage in an ongoing debate about the supernatural, with Watson believing in the possibility of vampires and Holmes remaining skeptical until he is able to prove the murders are the works of a living human, rather than any undead creature. At one point, the investigation leads them to the psychic Madame Karasky, who says that Holmes will be saved by the church. Shortly thereafter, Holmes is pushed in front of a moving carriage by the supposed vampire, only to be saved by a pedestrian. In order to catch the murderer, Holmes disguises himself as a monk and reveals that the vampire was Brother Abel, who hoped to get revenge on the monks who didn't listen to him when he believed that the bats were causing rabies in the South American mission, when he was infected. The film ends at Baker Street, when Mrs. Hudson gives Holmes his pipe, delivered by the same man that saved Holmes from being run over. When Holmes asks his name, Mrs. Hudson says his name was Reginald Church.
Output: Where is the vampire committing murders?
Passage: Sherlock Holmes and Dr. Watson are called to Whitechapel after learning about a series of strange murders only two years after the Jack the Ripper murders in the same neighborhood. The local belief is that the killings are the work of a vampire brought back from a recent mission in Guyana. As they investigate the deaths, they engage in an ongoing debate about the supernatural, with Watson believing in the possibility of vampires and Holmes remaining skeptical until he is able to prove the murders are the works of a living human, rather than any undead creature. At one point, the investigation leads them to the psychic Madame Karasky, who says that Holmes will be saved by the church. Shortly thereafter, Holmes is pushed in front of a moving carriage by the supposed vampire, only to be saved by a pedestrian. In order to catch the murderer, Holmes disguises himself as a monk and reveals that the vampire was Brother Abel, who hoped to get revenge on the monks who didn't listen to him when he believed that the bats were causing rabies in the South American mission, when he was infected. The film ends at Baker Street, when Mrs. Hudson gives Holmes his pipe, delivered by the same man that saved Holmes from being run over. When Holmes asks his name, Mrs. Hudson says his name was Reginald Church.
Output: What's the pedestrian's name?
Passage: Sherlock Holmes and Dr. Watson are called to Whitechapel after learning about a series of strange murders only two years after the Jack the Ripper murders in the same neighborhood. The local belief is that the killings are the work of a vampire brought back from a recent mission in Guyana. As they investigate the deaths, they engage in an ongoing debate about the supernatural, with Watson believing in the possibility of vampires and Holmes remaining skeptical until he is able to prove the murders are the works of a living human, rather than any undead creature. At one point, the investigation leads them to the psychic Madame Karasky, who says that Holmes will be saved by the church. Shortly thereafter, Holmes is pushed in front of a moving carriage by the supposed vampire, only to be saved by a pedestrian. In order to catch the murderer, Holmes disguises himself as a monk and reveals that the vampire was Brother Abel, who hoped to get revenge on the monks who didn't listen to him when he believed that the bats were causing rabies in the South American mission, when he was infected. The film ends at Baker Street, when Mrs. Hudson gives Holmes his pipe, delivered by the same man that saved Holmes from being run over. When Holmes asks his name, Mrs. Hudson says his name was Reginald Church.
Output: What's the full name of the person that Reginald Church saves?
Passage: Sherlock Holmes and Dr. Watson are called to Whitechapel after learning about a series of strange murders only two years after the Jack the Ripper murders in the same neighborhood. The local belief is that the killings are the work of a vampire brought back from a recent mission in Guyana. As they investigate the deaths, they engage in an ongoing debate about the supernatural, with Watson believing in the possibility of vampires and Holmes remaining skeptical until he is able to prove the murders are the works of a living human, rather than any undead creature. At one point, the investigation leads them to the psychic Madame Karasky, who says that Holmes will be saved by the church. Shortly thereafter, Holmes is pushed in front of a moving carriage by the supposed vampire, only to be saved by a pedestrian. In order to catch the murderer, Holmes disguises himself as a monk and reveals that the vampire was Brother Abel, who hoped to get revenge on the monks who didn't listen to him when he believed that the bats were causing rabies in the South American mission, when he was infected. The film ends at Baker Street, when Mrs. Hudson gives Holmes his pipe, delivered by the same man that saved Holmes from being run over. When Holmes asks his name, Mrs. Hudson says his name was Reginald Church.
Output: Who attempts to get Holmes killed?
Passage: Sherlock Holmes and Dr. Watson are called to Whitechapel after learning about a series of strange murders only two years after the Jack the Ripper murders in the same neighborhood. The local belief is that the killings are the work of a vampire brought back from a recent mission in Guyana. As they investigate the deaths, they engage in an ongoing debate about the supernatural, with Watson believing in the possibility of vampires and Holmes remaining skeptical until he is able to prove the murders are the works of a living human, rather than any undead creature. At one point, the investigation leads them to the psychic Madame Karasky, who says that Holmes will be saved by the church. Shortly thereafter, Holmes is pushed in front of a moving carriage by the supposed vampire, only to be saved by a pedestrian. In order to catch the murderer, Holmes disguises himself as a monk and reveals that the vampire was Brother Abel, who hoped to get revenge on the monks who didn't listen to him when he believed that the bats were causing rabies in the South American mission, when he was infected. The film ends at Baker Street, when Mrs. Hudson gives Holmes his pipe, delivered by the same man that saved Holmes from being run over. When Holmes asks his name, Mrs. Hudson says his name was Reginald Church.
Output: What's the name of the person who returned from Guyana as a "vampire"?
Passage: Sherlock Holmes and Dr. Watson are called to Whitechapel after learning about a series of strange murders only two years after the Jack the Ripper murders in the same neighborhood. The local belief is that the killings are the work of a vampire brought back from a recent mission in Guyana. As they investigate the deaths, they engage in an ongoing debate about the supernatural, with Watson believing in the possibility of vampires and Holmes remaining skeptical until he is able to prove the murders are the works of a living human, rather than any undead creature. At one point, the investigation leads them to the psychic Madame Karasky, who says that Holmes will be saved by the church. Shortly thereafter, Holmes is pushed in front of a moving carriage by the supposed vampire, only to be saved by a pedestrian. In order to catch the murderer, Holmes disguises himself as a monk and reveals that the vampire was Brother Abel, who hoped to get revenge on the monks who didn't listen to him when he believed that the bats were causing rabies in the South American mission, when he was infected. The film ends at Baker Street, when Mrs. Hudson gives Holmes his pipe, delivered by the same man that saved Holmes from being run over. When Holmes asks his name, Mrs. Hudson says his name was Reginald Church.
Output: What's the name of the person that the psychic tells Holmes about?