Found the following article online, use it to answer the question: What composer discovered that he had left his sketches behind in England "Climbing over rocky mountain" is the best known piece from Thespis, as it was transplanted in 1879 into one of Gilbert and Sullivan's most successful operas, The Pirates of Penzance. In 1902, Gilbert told a correspondent that this had happened accidentally. He and Sullivan had arrived in New York to produce the new opera, but the composer discovered that he had left his sketches behind in England. Fortunately, the entrance chorus from Thespis fitted the situation almost exactly, so it was substituted instead.Several scholars have doubted that explanation. In Sullivan's autograph score for the later work, the first part of "Climbing over rocky mountain" is actually taken from a Thespis copyist score, with the Thespis words cancelled and the new words written in, which raises the question of why Sullivan had a Thespis score to hand, if not for that purpose.Some suggest that other music from Thespis could have been used in Pirates. Goldberg suggests that "It is reasonable to believe that Sullivan made generous use of his Thespis music in other operettas: perhaps owing to the circumstances under which The Pirates of Penzance was written, it contains more than one unacknowledged borrowing from the unlucky firstling of the lucky pair." Reginald Allen says that "it seems certain" from its "rhythmic structure" that part of the Act I finale of Thespis, "Here's a pretty tale for future Iliads and Odysseys" became the original Act II finale in Pirates, "At length we are provided with unusual felicity", which was later deleted. Tillett and Spencer propose that most of Act I of Pirates was taken from Thespis. However, there is only circumstantial evidence for these suggestions. Except for "Climbing over rocky mountain", neither author admitted to borrowing from Thespis for later works.
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Answer: Gilbert

Found the following article online, use it to answer the question: What is the name of the first single released with no label by the band that released an album called Riot Act? Pearl Jam commenced work on a new album following a year-long break after its full-scale tour in support of Binaural. McCready described the recording environment as "a pretty positive one" and "very intense and spiritual." Regarding the time period when the lyrics were being written, Vedder said, "There's been a lot of mortality...It's a weird time to be writing. Roskilde changed the shape of us as people, and our filter for seeing the world changed." Pearl Jam released its seventh album, Riot Act, on November 12, 2002. It included the singles "I Am Mine" and "Save You". The album featured a much more folk-based and experimental sound, evident in the presence of B3 organist Boom Gaspar on songs such as "Love Boat Captain". Stephen Thomas Erlewine of AllMusic said "Riot Act is the album that Pearl Jam has been wanting to make since Vitalogya muscular art rock record, one that still hits hard but that is filled with ragged edges and odd detours." The track entitled "Arc" was recorded as a vocal tribute to the nine people who died at the Roskilde Festival in June 2000. Vedder only performed this song nine times on the 2003 tour, and the band left the track off all released bootlegs.In 2003, the band embarked on its Riot Act Tour, which included tours in Australia and North America. The band continued its official bootleg program, making every concert from the tour available in CD form through its official website. A total of six bootlegs were made available in record stores: Perth, Tokyo, State College, Pennsylvania, two shows from Madison Square Garden, and Mansfield, Massachusetts. At many shows during the 2003 North American tour, Vedder performed Riot Act's "Bu$hleaguer", a commentary on President George W. Bush, with a rubber mask of Bush, wearing it at the beginning of the song and then hanging it on a mic stand to allow him to sing. The band made news when it was reported that several fans left after Vedder had "impaled" the Bush mask on his mic stand at the band's Denver, Colorado show.In June 2003,...
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Answer: Man of the Hour

Found the following article online, use it to answer the question: What song did Burton arranged the middle section, which features its moody bass line and multipart guitar harmonies? "The Thing That Should Not Be" was inspired by the Cthulhu Mythos created by famed horror writer H.P. Lovecraft, with notable direct references to The Shadow Over Innsmouth and to Cthulhu himself, who is the subject matter of the song's chorus. It is considered the heaviest track on the album, with the main riff emulating a beast dragging itself into the sea. The Black Sabbath-influenced guitars are downtuned, creating slow and moody ambiance. "Welcome Home (Sanitarium)" was based on Ken Kesey's novel One Flew Over the Cuckoo's Nest and conveys the thoughts of a patient unjustly caged in a mental institution. The song opens with a section of clean single strings and harmonics. The clean, arpeggiated main riff is played in alternating 44 and 64 time signatures. The song is structured with alternating somber clean guitars in the verses, and distorted heavy riffing in the choruses, unfolding into an aggressive finale. This structure follows a pattern of power ballads Metallica set with "Fade to Black" on Ride the Lightning and would revisit with "One" on ...And Justice for All."Disposable Heroes" is an anti-war song about a young soldier whose fate is controlled by his superiors. With sections performed at 220 beats per minute, it is one of the most intense tracks on the record. The guitar passage at the end of each verse was Hammett's imitation of the sort of music he found in war films. The syncopated riffing of "Leper Messiah" challenges the hypocrisy of the televangelism that emerged in the 1980s. The song describes how people are willingly turned into blind religious followers who mindlessly do whatever they are told. The 136 beats per minute mid-tempo riffing of the verses culminates in a descending chromatic riff in the chorus; it increases to a galloping 184 beats per minute for the middle section that climaxes in a distorted scream of "Lie!". The title derives from the lyrics to the David Bowie song "Ziggy Stardust". "Orion" is a multipart instrumental highlighting Burton's bass playing. It opens with...
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Answer:
Orion