Please answer this: Given the below context: Katerina's health gradually worsened and in the spring of 1859 failed completely. Homeward bound, she died at Dresden on 19 April 1859. Smetana wrote that she had died "gently, without our knowing anything until the quiet drew my attention to her." After placing Zofie with Katerina's mother, Smetana spent time with Liszt in Weimar, where he was introduced to the music of the comic opera Der Barbier von Bagdad, by Liszt's pupil Peter Cornelius. This work would influence Smetana's own later career as an opera composer. Later that year he stayed with his younger brother Karel, and fell in love with Karel's sister-in-law Barbora (Bettina) Ferdinandiova, sixteen years his junior. He proposed marriage, and having secured her promise returned to Gothenburg for the 185960 winter. The marriage took place the following year, on 10 July 1860, after which Smetana and his new wife returned to Sweden for a final season. This culminated in April 1861 with a piano performance in Stockholm, attended by the Swedish royal family. The couple's first daughter, Zdenka, was born in September 1861.Meanwhile, the defeat of Franz Joseph's army at Solferino in 1859 had weakened the Habsburg Empire, and led to the fall from power of von Bach. This had gradually brought a more enlightened atmosphere to Prague, and by 1861 Smetana was seeing prospects of a better future for Czech nationalism and culture. Before deciding his own future, in September Smetana set out on a concert tour of the Netherlands and Germany. He was still hoping to secure a reputation as a pianist, but once again he experienced failure. Back in Prague, he conducted performances of Richard III and Wallenstein's Camp in the Zofin Island concert hall in January 1862, to a muted reception. Critics accused him of adhering too closely to the "New German" school represented primarily by Liszt; Smetana responded that "a prophet is without honour in his own land." In March 1862 he made a last brief visit to Gothenburg, but the city no longer held his interest; it appeared to... Guess a valid title for it!
++++++++
Answer: Bedrich Smetana

Please answer this: Given the below context: At Eynsford, with Moeran as his co-tenant, Heseltine presided over a bohemian household with a flexible population of artists, musicians and friends. Moeran had studied at the Royal College of Music before and after the First World War; he avidly collected folk music and had admired Delius during his youth. Although they had much in common, he and Heseltine rarely worked together, though they did co-write a song, "Maltworms". The other permanent Eynsford residents were Barbara Peache, Heseltine's long-term girlfriend whom he had known since the early 1920s, and Hal Collins, a New Zealand Maori who acted as a general factotum. Peache was described by Delius's assistant Eric Fenby as "a very quiet, attractive girl, quite different from Phil's usual types". Although not formally trained, Collins was a gifted graphic designer and occasional composer, who sometimes assisted Heseltine. The household was augmented at various times by the composers William Walton and Constant Lambert, the artist Nina Hamnett, and sundry acquaintances of both sexes.The ambience at Eynsford was one of alcohol (the "Five Bells" public house was conveniently across the road) and uninhibited sexual activity. These years are the primary basis for the Warlock legends of wild living and debauchery. Visitors to the house left accounts of orgies, all-night drunken parties, and rough horseplay that at least once brought police intervention. However, such activities were mainly confined to weekends; within this unconventional setting Heseltine accomplished much work, including settings from the Jacobean dramatist John Webster and the modern poet Hilaire Belloc, and the Capriol Suite in versions for string and full orchestra. Heseltine continued to transcribe early music, wrote articles and criticism, and finished the book on Gesualdo. He attempted to restore the reputation of a neglected Elizabethan composer, Thomas Whythorne, with a long pamphlet which, years later, brought significant amendments to Whythorne's entry in The History of Music in... Guess a valid title for it!
++++++++
Answer: Peter Warlock

Please answer this: Given the below context: Based on studies of morphology, the bluebuck has historically been classified as either a distinct species or as a subspecies of the roan antelope. After its extinction, some 19th-century naturalists began to doubt its validity as a species, with some believing the museum specimens to be small or immature roan antelopes, and both species were lumped together under the name A. leucophaeus by the English zoologist George Robert Gray in 1821. The Austrian zoologist Franz Friedrich Kohl pointed out the distinct features of the bluebuck in 1866, followed by Sclater and Thomas, who rejected the synonymy in 1899.In 1974 the American biologist Richard G. Klein showed (based on fossils) that the bluebuck and roan antelope occurred sympatrically on the coastal plain of the southwestern Cape from Oakhurst to Uniondale during the early Holocene, supporting their status as separate species. In 1996 an analysis of mitochondrial DNA extracted from the bluebuck specimen in Vienna showed that it is outside the clade containing the roan and sable antelopes. The study therefore concluded that the bluebuck is a distinct species, and not merely a subspecies of the roan antelope as was supposed. The cladogram below shows the position of the bluebuck among its relatives, following the 1996 analysis: Guess a valid title for it!
++++++++
Answer:
Bluebuck 1