user: input: Please answer the following: Given the following context:  Boult was born in Chester, Cheshire, in North West England, the second child and only son of Cedric Randal Boult (1853–1950), and his wife Katharine Florence née Barman (d. 1927). Cedric Boult was a Justice of the Peace and a successful businessman connected with Liverpool shipping and the oil trade; Cedric and his family had "a Liberal Unitarian outlook on public affairs" with a history of philanthropy. When Boult was two years old the family moved to Blundellsands, where he was given a musical upbringing. From an early age he attended concerts in Liverpool, conducted mostly by Hans Richter. He was educated at Westminster School in London, where in his free time he attended concerts conducted by, among others, Sir Henry Wood, Claude Debussy, Arthur Nikisch, Fritz Steinbach, and Richard Strauss. His biographer, Michael Kennedy, writes, "Few schoolboys can have attended as many performances by great artists as Boult heard between 1901 and October 1908, when he went up to Christ Church, Oxford." While still a schoolboy, Boult met the composer Edward Elgar through Frank Schuster, a family friend.At Christ Church college at Oxford, where he was an undergraduate from 1908 to 1912, Boult studied history but later switched to music, in which his mentor was the musical academic and conductor Hugh Allen. Among the musical friends he made at Oxford was Ralph Vaughan Williams, who became a lifelong friend. In 1909 Boult presented a paper to an Oxford musical group, the Oriana Society, entitled Some Notes on Performance, in which he laid down three precepts for an ideal performance: observance of the composer's wishes, clarity through emphasis on balance and structure, and the effect of music made without apparent effort. These guiding principles lasted throughout his career. He was president of the University Musical Club for the year 1910, but his interests were not wholly confined to music: he was a keen rower, stroking his college boat at Henley, and all his life he remained a member of the Leander Club.  answer the following question:  What is the last name of the person who attended concerts conducted by, among others, Arthur Nikisch?
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output: Boult


Please answer this: Given the following context:  The Mozarts' first London lodgings were above a barber's shop in Cecil Court, near St Martin-in-the-Fields. Letters of introduction from Paris proved effective; on 27 April 1764, four days after their arrival, the children were playing before King George III and his 19-year-old German queen, Charlotte Sophia. A second royal engagement was fixed for 19 May, at which Wolfgang was asked by the king to play pieces by Handel, Johann Christian Bach and Carl Friedrich Abel. He was allowed to accompany the queen as she sang an aria, and he later improvised on the bass part of a Handel aria from which, according to Leopold, he produced "the most beautiful melody in such a manner that everyone was astonished".Many of the nobility and gentry were leaving town for the summer, but Leopold reckoned that most would return for the king's birthday celebrations on 4 June, and accordingly organised a concert for the 5th. This was deemed a success, and Leopold hastened to arrange for Wolfgang to appear at a benefit concert for a maternity hospital on 29 June, at Ranelagh Pleasure Gardens. Leopold apparently saw this effort to support charitable works as "a way to earn the love of this very special nation". Wolfgang was advertised as "the celebrated and astonishing Master Mozart, a Child of Seven Years of Age..." (he was in fact eight), "justly esteemed the most extraordinary Prodigy, and most amazing Genius, that has appeared in any Age". On 8 July there was a private performance at the Grosvenor Square home of the Earl of Thanet, from which Leopold returned with an inflammation of the throat and other worrying symptoms. "Prepare your heart to hear one of the saddest events", he wrote to Hagenauer in anticipation of his own imminent demise. He was ill for several weeks, and for the sake of his health the family moved from their Cecil Court lodgings to a house in the countryside, at 180 Ebury Street, then considered part of the village of Chelsea.  answer the following question:  What was the name of the person who asked Wolfgang to play pieces by Handel, Johann Christian Bach and Carl Friedrich Abel?
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Answer: King George III


input question: Given the following context:  Dissatisfied with his first large-scale orchestral work, the D major Overture of 1848, Smetana studied passages from Beethoven, Mendelssohn, Weber and Berlioz before producing his Triumphal Symphony of 1853. Though this is dismissed by Rosa Newmarch as "an epithalamium for a Habsburg Prince", Smetana's biographer Brian Large identifies much in the piece that characterises the composer's more mature works. Despite the symphony's rejection by the Court and the lukewarm reception on its premiere, Smetana did not abandon the work. It was well received in Gothenburg in 1860, and a revised version was performed in Prague in 1882, without the "triumphal" tag, under Adolf Čech. The piece is now sometimes called the Festive Symphony. Smetana's visit to Liszt at Weimar in the summer of 1857, where he heard the latter's Faust Symphony and Die Ideale, caused a material reorientation of Smetana's orchestral music. These works gave Smetana answers to many compositional problems relating to the structure of orchestral music, and suggested a means for expressing literary subjects by a synthesis between music and text, rather than by simple musical illustration. These insights enabled Smetana to write the three Gothenburg symphonic poems, (Richard III, Wallenstein's Camp and Hakon Jarl), works that transformed Smetana from a composer primarily of salon pieces to a modern neo-Romantic, capable of handling large-scale forces and demonstrating the latest musical concepts. From 1862 Smetana was largely occupied with opera and, apart from a few short pieces, did not return to purely orchestral music before beginning Má vlast in 1872. In his introduction to the Collected Edition Score, František Bartol brackets Má vlast with the opera Libuše as "direct symbols of [the] consummating national struggle". Má vlast is the first of Smetana's mature large-scale works that is independent of words, and its musical ideas are bolder than anything he had tried before. To musicologist John Clapham, the cycle presents "a cross-section of Czech...  answer the following question:  Whose piece is now called the Festive Symphony????
output answer:

assistant: Smetana