user: Q: Read the following paragraph and extract the answer for the question: What is the last name of the person who never published their final major compositional project?  Jean Sibelius's Symphony No. 8 was his final major compositional project, occupying him intermittently from the mid-1920s until around 1938, though he never published it. During this time Sibelius was at the peak of his fame, a national figure in his native Finland and a composer of international stature. A fair copy of at least the first movement was made, but how much of the Eighth Symphony was completed is unknown. Sibelius repeatedly refused to release it for performance, though he continued to assert that he was working on it even after he had, according to later reports from his family, burned the score and associated material, probably in 1945. Much of Sibelius's reputation, during his lifetime and subsequently, derived from his work as a symphonist. His Seventh Symphony of 1924 has been widely recognised as a landmark in the development of symphonic form, and at the time there was no reason to suppose that the flow of innovative orchestral works would not continue. However, after the symphonic poem Tapiola, completed in 1926, his output was confined to relatively minor pieces and revisions to earlier works. During the 1930s the Eighth Symphony's premiere was promised to Serge Koussevitzky and the Boston Symphony Orchestra on several occasions, but as each scheduled date approached Sibelius demurred, claiming that the work was not ready for performance. Similar promises made to the British conductor Basil Cameron and to the Finnish Georg Schnéevoigt likewise proved illusory. It is thought that Sibelius's perfectionism and exalted reputation prevented him ever completing the symphony to his satisfaction; he wanted it to be even better than his Seventh. After Sibelius's death in 1957, news of the Eighth Symphony's destruction was made public, and it was assumed that the work had disappeared forever. But in the 1990s, when the composer's many notebooks and sketches were being catalogued, scholars first raised the possibility that fragments of the music for the lost symphony might have survived. Since...
A: Sibelius

Q: Read the following paragraph and extract the answer for the question: What was the name of the chapel that was dismantled in 1571?  A middle Saxon pendant dating from 601–700 AD was discovered in a field in Little Thetford in 1952. This 3-centimetre (1.18 in) diameter by 1-centimetre (0.39 in) thick pendant, made from rock-crystal, gold, garnet, and amethyst coloured-glass, has been worked in a lathe. The workmanship is not of a high standard. Æthelberht of Kent was said to have built a church at Cratendune around 600 AD, about a mile from what is now Ely Cathedral. In 673 AD, Æthelthryth considered restoring this church, thought to have been destroyed by Penda of Mercia, but instead made what is now Ely Cathedral the site of her monastery. An early Anglo-Saxon cemetery, used at some point between 410–1065 AD, was uncovered around 1945 near Little Thetford (52.376N, 0.2375E), and was thought to be this lost village of Cratendune. A deserted Saxon settlement, 410–1065 AD, examined in 1999 in Ely, may also be a candidate for this lost site of worship. Little Thetford means little public or people's ford—Old English lȳtel Thiutforda (c. 972) and Liteltedford [sic] (1086)—compare with Thetford, Norfolk—Old English Thēodford (late 9th century) and Tedfort (1086). The online Domesday Book records the settlement under the name Liteltetford [sic]. The first written evidence that Ely Abbey had inherited the Little Thetford lands was in the 12th-century chronicle, Liber Eliensis. The will of Ælfwaru (d. 1007), an Anglo-Saxon noblewoman, granted estates in Cambridgeshire and Norfolk to the Abbey, which included "... that land at Thetford and fisheries around those marshes". In 1110, Hervey le Breton, Bishop of Ely, granted the manor to William Brito, his Archdeacon and also his nephew. Chapel Hill in the village, near the river, commemorates the site of Harrimere Chapel, used since 1381. Some of the stone from this chapel, dismantled in 1571, was used in the building of St George's Church. By 1539, the Little Thetford manor and its estates contained arable land, pasture, gardens, and orchards.  In the mid-16th century, the antiquary William Bowyer...
A: Harrimere Chapel,

Q: Read the following paragraph and extract the answer for the question: Which types of boards have four holes where the binding threads were laced through?  The boards of the covers, previously assumed to be limewood, are now thought to be birch, an unusual wood in later bindings, but one easily available in northern England.  Both have four holes where the binding threads were laced through; the two threads were run round the inner edges of the cover and knotted back at the holes.  The front cover has an additional 12 holes where the ends of the cords for the raised framing lines went through, at the four corners of the two main frames, and the ends of the horizontal bars between the interlace panels and the central vine motif.The stitching of the binding uses "Coptic sewing", that is "flexible unsupported sewing (produced by two needles and thread looping round one another in a figure-of-eight sewing pattern)"  Coptic sewing uses small threads both to attach the leaves together and, knotted together, to attach the pages to the cover boards. Normal Western binding uses thread for the former and thicker cord running across the spine of the book for the latter, with the thread knotted onto the cords.  Coptic sewing is also found in the earliest surviving leather bookbindings, which are from Coptic libraries in Egypt from the 7th and 8th centuries; in particular the design of the cover of one in the Morgan Library (MS M.569) has been compared to the St Cuthbert Gospel.  In the techniques used in the binding, apart from the raised decoration, the closest resemblance is to an even smaller Irish pocket gospel book from some 50 years later, the Cadmug Gospels at Fulda, which is believed to have belonged to Saint Boniface.  This is also in red goatskin, with coloured incised lines, and uses a similar unsupported or cordless stitching technique.  The first appearance of the cords or supports that these "unsupported" bindings lack is found in two other books at Fulda, and they soon became universal in, and characteristic of, Western bookbinding until the arrival of modern machine techniques.  The cords run horizontally across the spine, and are thicker than the threads...
A:

assistant: limewood