[Q]: The following article contains an answer for the question: What is the last name of the person who burned a score? , can you please find it? 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 Schneevoigt 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...
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[A]: Sibelius
input: Please answer the following: The following article contains an answer for the question: What is the last name of the person who had a memorial that was a wooden board featuring a description of the events leading up to his death? , can you please find it? Sir Edwin Lutyens was among the most distinguished architects for war memorials in Britain. He became a nationally renowned designer of war memorials following his work as an adviser to (and later one of the principal architects for) the Imperial War Graves Commission and his design for the Cenotaph on London's Whitehall. As well as dozens of public war memorials in towns and cities across Britain, Lutyens designed several private memorials to individual casualties, usually the sons of friends or clients. Many were heirs to the country houses Lutyens had built earlier in his career, as in Mells where he renovated the manor at the beginning of the 20th century. His work in Mells arose through his friend and collaborator Gertrude Jekyll, who introduced him to the Horners through a family connection. Lutyens established a friendship which led to multiple commissions in the village. In addition to his work on the manor, he redesigned its gardens and worked on several related buildings and structures, and after the war was responsible for a tribute to Raymond Asquith (Edward's brother-in-law), also located in St Andrew's Church, and the village war memorial. Lutyens designed two other memorials to Horner: a wooden board featuring a description of the events leading up to his death, which was placed on a wall in the family chapel in St Andrew's Church; and a stone tablet in Cambrai Cathedral.Alfred Munnings was a painter specialising in horses. He volunteered for military service at the outbreak of war but was deemed unfit due to lack of sight in one eye. He volunteered to tend to army horses and was later recruited as a civilian war artist attached to Canadian cavalry. In 1919, he was beginning to move into sculpture. The Horner memorial was his first public work of sculpture, for which Lutyens commissioned him based on a pre-existing friendship. The work led to several further commissions for equine statues, including from the Jockey Club for a sculpture of the racehorse Brown Jack at Epsom Downs Racecourse....
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output: Horner
Problem: The following article contains an answer for the question: What is the full name of the person who said sea turtles are of a vicious disposition? , can you please find it? After the second incident, scientists and the public presented theories to explain which species of shark was responsible for the Jersey Shore attacks or whether multiple sharks were involved. Lucas and Nichols proposed that a northward-swimming rogue shark was responsible. They believed it would eventually arrive along New York's coast: "Unless the shark came through the Harbor and went through the north through Hell Gate and Long Island Sound, it was presumed it would swim along the South Shore of Long Island and the first deep water inlet it reaches will be the Jamaica Bay." Witnesses of the Beach Haven fatality estimated that the shark was 9 feet (3 m) long. A sea captain who saw the event believed it was a Spanish shark driven from the Caribbean Sea decades earlier by bombings during the SpanishAmerican War. Several fishermen claimed to have caught the "Jersey man-eater" in the days following the attacks. A blue shark was captured on July 14 near Long Branch, and four days later the same Thomas Cottrell who had seen the shark in Matawan Creek claimed to have captured a sandbar shark with a gillnet near the mouth of the creek.On July 14, Harlem taxidermist and Barnum and Bailey lion tamer Michael Schleisser caught a 7.5 foot (2.3 m), 325 pound (147 kg) shark while fishing in Raritan Bay only a few miles from the mouth of Matawan Creek. The shark nearly sank the boat before Schleisser killed it with a broken oar. When he opened the shark's belly, he removed a "suspicious fleshy material and bones" that took up "about two-thirds of a milk crate" and "together weighed fifteen pounds." Scientists identified the shark as a young great white and the ingested remains as human. Schleisser mounted the shark and placed it on display in the window of a Manhattan shop on Broadway but it was later lost. The only surviving photograph appeared in the Bronx Home News.No further attacks were reported along the Jersey Shore in the summer of 1916 after the capture of Schleisser's shark. Murphy and Lucas declared the great...

A:
Barrett P. Smith