Given the task definition, example input & output, solve the new input case.
In this task, you are given a set of context paragraph and some supporting facts to answer a question. Your task is to generate answer for given question based on set of context paragraphs and supporting facts.
Example: Context_1 : Charles Edward Ives ( ; October 20, 1874May 19, 1954) was an American modernist composer. He is one of the first American composers of international renown, though his music was largely ignored during his life, and many of his works went unperformed for many years. Over time, he came to be regarded as an "American original". He combined the American popular and church-music traditions of his youth with European art music, and was among the first composers to engage in a systematic program of experimental music, with musical techniques including polytonality, polyrhythm, tone clusters, aleatory elements, and quarter tones, foreshadowing many musical innovations of the 20th century. Context_2 : Daniel Evan Freeman (born 27 April 1959) is an American musicologist who specializes in European art music of the eighteenth century, in particular the musical culture of eighteenth-century Prague and the Bohemian lands. He is also active as a pianist and music editor. Context_3 : Art music (also known as Western classical music, cultivated music, serious music, canonic music, and more flippantly, real music or normal music) is an umbrella term that refers to musical traditions, implying advanced structural and theoretical considerations and a written musical tradition. "Serious" or "cultivated" music are terms frequently used as a contrast for ordinary, everyday music (popular and folk music, also called "vernacular music"). After the 20th century, art music was divided into two extensions: "serious music" and "light music". Context_4 : In the history of European art music, the term "common practice period" refers to the era between the formation and the dissolution of the tonal system. Though there are no exact dates for this phenomenon, most features of the common-practice period persisted from the mid to late baroque period, through the Classical and Romantic periods, or roughly from around 1650 to 1900. While certain prevailing patterns and conventions characterize the music of this period, the time period also saw considerable stylistic evolution. Some conventions evolved during this period that were rarely employed at other times during what may still be labeled "common practice" (for example, Sonata Form). Thus, the dates 16501900 are necessarily nebulous and arbitrary borders that depend on context. The most important unifying feature through this time period concerns a harmonic language to which modern music theorists can apply Roman numeral analysis. Context_5 : The Festival Oude Muziek Utrecht ("Utrecht Early Music Festival") is an annual music festival that showcases and celebrates early European art music. The ten-day festival takes place in the Dutch city of Utrecht, and begins in August. The programme comprises concerts, activities, lectures, exhibitions, and a symposium. Context_6 : Assaf Shelleg (Hebrew: ), is a musicologist and pianist, a senior lecturer of musicology at The Hebrew University of Jerusalem. He was previously the Schusterman Visiting Assistant Professor of Musicology and Jewish Studies in the Department of Religious Studies at the University of Virginia (201114), and had taught prior to that as the visiting Efroymson Scholar in the Jewish, Islamic & Near Eastern Languages and Cultures Department at Washington University in St. Louis (200911). Shelleg specializes in twentieth-century Jewish and Israeli art music and has published in some of the leading journals in both musicology and Israel Studies on topics ranging from the historiography of modern Jewish art music to the theological networks of Israeli art music. Shelleg's book, "Jewish Contiguities and the Soundtrack of Israeli History", appeared in November 2014 with Oxford University Press. The book studies the emergence of modern Jewish art music in central and Western Europe (1910s-1930s) and its translocation to Palestine/Israel (1930s-1970s), exposing the legacies of European antisemitism and religious Judaism in the making of Israeli art music. Moving to consider the dislocation of modern Jewish art music the book examines the paradoxes embedded in a Zionist national culture whose rhetoric negated its pasts, only to mask process of hybridizations enchained by older legacies. "Jewish Contiguities" has won the 2015 Engle Prize for the study of Hebrew Music, and the 2016 Jordan Schnitzer Book Award. Context_7 : Vocal harmony is a style of vocal music in which a consonant note or notes are simultaneously sung as a main melody in a predominantly homophonic texture. Vocal harmonies are used in many subgenres of European art music, including Classical choral music and opera and in the popular styles from many Western cultures ranging from folk songs and musical theater pieces to rock ballads. In the simplest style of vocal harmony, the main vocal melody is supported by a single backup vocal line, either at a pitch which is above or below the main vocal line, often in thirds or sixths which fit in with the chord progression used in the song. In more complex vocal harmony arrangements, different backup singers may sing two or even three other notes at the same time as each of the main melody notes, mostly with consonant, pleasing-sounding thirds, sixths, and fifths (although dissonant notes may be used as short passing notes). Context_8 : David Wallis Reeves (February 14, 1838 March 8, 1900), also known as D. W. Reeves or Wally Reeves, was an American composer, cornetist, and bandleader. He developed the American march style, later made famous by the likes of John Philip Sousa, and his innovations include adding a countermelody to the American march form in 1876. Sousa called Reeves "The Father of Band Music in America", and stated he wished he himself had written Reeves' "Second Regiment Connecticut National Guard March". Charles Ives also borrowed from the "Second Connecticut" on four occasions. Context_9 : "Indian classical music is one of many forms of art music that have their roots in particular regional cultures. For other "classical" and art music traditions, see List of classical and art music traditions." Context_10 : Progressive music is music that subverts genre and expands stylistic boundaries outwards. Rooted in the idea of a cultural alternative, musical progressiveness embodies a continuous move between explicit and implicit references to genres and strategies derived from various cultural domains, such as European art music, Celtic folk, West Indian, or African. The word "progressive" comes from the basic concept of "progress", which refers to development and growth by accumulation, and is often deployed in numerous music genres such as progressive country, progressive folk, progressive jazz, and (most significantly) progressive rock. fact_1 : Charles Ives also borrowed from the "Second Connecticut" on four occasions. fact_2 : Charles Edward Ives ( ; October 20, 1874May 19, 1954) was an American modernist composer. fact_3 : He combined the American popular and church-music traditions of his youth with European art music, and was among the first composers to engage in a systematic program of experimental music, with musical techniques including polytonality, polyrhythm, tone clusters, aleatory elements, and quarter tones, foreshadowing many musical innovations of the 20th century. Question: What is the birthyear of the American composer that borrowed from "Second Connecticut" on four occasions and combined American popular and church-music traditions with European art music?
Output: 1874May
From the fact_1 from context _8, and fact _2 and fact _3 from context _1, we can arrive at 1874 May which is accurate answer of given question.

New input case for you: Context_1 : It was first performed in three acts by the Comedie-Italienne at the first Salle Favart in Paris on 21 October 1784. It was given in a revised four-act version at Fontainebleau on 25 October 1785. The opera reached the United Kingdom in 1786 and Boston, USA in 1797. It was immensely popular and was still being played in France at the end of the 19th century. Adolphe Adam provided new orchestration for the 1841 revival at the Opera-Comique and through the following decades reached over 600 performances by that company by 1910. Context_2 : The Padlock is a two-act 'afterpiece' opera by Charles Dibdin. The text was by Isaac Bickerstaffe. It debuted in 1768 at the Drury Lane Theatre in London as a companion piece to "The Earl of Warwick". It partnered other plays before a run of six performances in tandem with "The Fatal Discovery" by John Home. "The Padlock" was a success, largely due to Dibdin's portrayal of Mungo, a blackface caricature of a black servant from the West Indies. The company took the production to the United States the next year, where a portrayal by Lewis Hallam, Jr. as Mungo met with even greater accolades. The libretto was first published in London in 1768 (?) and in Dublin in 1775. The play remained in regular circulation in the U.S. as late as 1843. It was revived by the Old Vic Company in London and on tour in the UK in 1979 in a new orchestration by Don Fraser and played in a double-bill with Garrick's "Miss In Her Teens". The role of Mungo was, again, played by a white actor. Opera Theatre of Chicago have recently revived the piece (2007?) where, it would seem, the role of Mungo was changed to that of an Irish servant. Context_3 : Grafton Volcano is a buried volcano in New Zealand's Auckland volcanic field that underlies much of the Auckland suburb of Grafton. First recognised in 2010, it includes the Outhwaite Park scoria cone that was first mapped by Hochstetter (1864) and inferred by later geologists to be a late phase vent of adjacent Domain Volcano. Borehole drilling and building excavations in the Grafton-Auckland Domain area during the 1990s and 2000s provided new subsurface geological information that allowed geologists to recognise the buried Grafton Volcano. Context_4 : Adolphe Charles Adam (] ; 24 July 1803 3 May 1856) was a French composer and music critic. A prolific composer of operas and ballets, he is best known today for his ballets "Giselle" (1841) and "Le corsaire" (1856, his last work), his operas "Le postillon de Lonjumeau" (1836), "Le toreador" (1849) and "Si j'etais roi" (1852) Context_5 : On December 19, 2006, the Pandemic and All-Hazards Preparedness Act (PAHPA), Public Law No. 109-417, was signed into law by President George W. Bush. PAHPA has broad implications for the United States Department of Health and Human Services's (HHS) preparedness and response activities. Among other things, the act amended the Public Health Service Act to establish within the department a new Assistant Secretary for Preparedness and Response (ASPR); provided new authorities for a number of programs, including the advanced development and acquisitions of medical countermeasures; and called for the establishment of a quadrennial National Health Security Strategy. Context_6 : La reine Fiammette is an opera in four acts by composer Xavier Leroux. The opera uses a French language libretto by Catulle Mendes which is based on Mendes's 1898 work of the same name, a "conte dramatique" in six acts set in Renaissance Italy. The opera's premiere was given by the Opera-Comique at the Salle Favart theatre in Paris on 23 December 1903. The production was directed by Albert Carre and conducted by Andre Messager. The United States premiere of the work was given at the Metropolitan Opera in New York City on 24 January 1919. That production was directed by Richard Ordynski, conducted by Pierre Monteux, and starred Geraldine Farrar as Orlanda, Hipolito Lazaro as Danielo, Adamo Didur as Giorgio, Leon Rothier as Cesar, and Flora Perini as Pantasilee. Up to the Second World War the opera received 59 performances at the Opera-Comique. Context_7 : Saa Emerson Lamina, born in Koidutown, Kono District, is a Sierra Leoneean politician and the Mayor of Koidu City. Mr. Lamina is the youngest Mayor in Sierra Leone's history, and at the time of his inauguration was the youngest Mayor in West Africa. Mayor Lamina is adored and loved by the people of Kono for his humility and his progressive policies. He has always been focused on building his city lot by lot, block by block. He's known for bringing city government closer to the people, by holding regular town-hall meetings, press conferences and quarterly mobile council meetings in the various neighborhoods of the city (first of it kind in the country), which earned him the nickname "the mayor of neighborhoods." Soon after taking office, Mayor Lamina called for more transparent, participatory, and collaborative government. Mayor Lamina, also known as Mr. Incorruptible, introduced strict anti-corruption programs and open-government policies to the dismay of the district political elites, paramount chiefs, and party leaders in the national capital Freetown, who have been the beneficiaries of decades long culture of corruption that has kept the district on the bottom in terms of development. The diamond rich Kono District (the bread basket of the nation) has been the most neglected district in the country and its capital Koidu City was the most under-develop city in the country. The city was completely burnt down during the civil war in the nineteen-nineties. But under Mayor Lamina's leadership, Koidu City has seen a lot of improvements. His administration has installed hundreds of new solar lights in the city, paved major streets, rehabilitated and reconstructed schools, provided new furniture to primary and secondary schools, rehabilitated the Koidu Government Hospital and procured essential drugs for the hospital, established bi-lateral ties with cities around the world, and implemented policies targeting Diasporas as agents for development. Context_8 : Richard Coeur de Lion: An historical romance is a 1786 semi-opera with an English text by John Burgoyne set to music by Thomas Linley the Elder. It was first staged at Drury Lane Theatre in October 1786. It was a translation of Michel-Jean Sedaine's opera "Richard Coeur-de-lion" about the life of the English Monarch Richard I with the ending significantly changed. The work was a major success and ran for 43 performances and was revived seven times before the end of the century. By contrast a rival version staged at the Covent Garden Theatre at the same time was a failure. Context_9 : Grand traite d'instrumentation et d'orchestration modernes, abbreviated in English as the Treatise on Instrumentation (sometimes Treatise on Orchestration) is a technical study of Western musical instruments, written by Hector Berlioz. It was first published in 1844 after being serialised in many parts prior to this date, and had a chapter added by Berlioz on conducting in 1855. In 1904 Richard Strauss was asked to update the text to include some modern instruments and included musical examples from Wagner, and in 1905 the updated "Treatise" with a new preface by Strauss was published in German. The 1905 edition was translated into English in 1948. The book discusses the various technical aspects of instruments, such as chromatic range, tone quality, and limitations. An explanation of the role of particular instruments within the orchestra is also provided. The book also provides orchestral excerpts from classical scores to give examples of techniques discussed. These examples are sometimes of works by Berlioz himself, while Mozart, Wagner, Beethoven, and Gluck are also frequently cited. Context_10 : Adolf Eybel (18081882), a German painter of historical and genre subjects and of portraits, was born at Berlin. He studied at the Berlin Academy, and under Professor Kolbe, as well as in Paris under Delaroche. One of his most noted pictures represents "Richard Coeur-de-Lion with his Court listening to Blondel's Song." He died at Berlin in 1882. The following works by him may also be mentioned: fact_1 : Adolphe Adam provided new orchestration for the 1841 revival at the Opera-Comique and through the following decades reached over 600 performances by that company by 1910. fact_2 : Adolphe Charles Adam (] ; 24 July 1803 3 May 1856) was a French composer and music critic. Question: What ws the nationality of the composer who provided new orchestration for the 1841 revival at the Opera-Comique for "Richard Coeur-de-lion"?
Output:
French