Please answer this: The following article contains an answer for the question: What was the last name of Harvey's personal secretary? , can you please find it? As Harvey's interests shifted to the Pyramid, Monte Ne's resort days effectively ended and the number of visitors slowly dwindled. Activities and events at Monte Ne continued, supported by locals who still visited in large numbers. Harvey sold the Hotel Monte Ne. The hotel went through several name changes and owners, becoming the White Hotel circa 1912, the Randola Inn in 1918, the Hotel Frances in 1925, and in 1930 the Sleepy Valley Hotel. Monte Ne's larger hotels continued to be active after they, along with the dance pavilion and Elixir Spring, were foreclosed and sold at public auction. From 1927 to 1932, Missouri Row and Oklahoma Row (often called the Club House Hotels at this point) were home to the Ozark Industrial College and School of Theology, a nonsectarian school run by Dan W. Evans. The hotels housed pupilsMissouri Row for boys, Oklahoma Row for girlsand Oklahoma Row also provided classroom and dining spaces. Evans and his family lived in the tower. The dance pavilion was enclosed and served as the school chapel. In May 1932, following a mortgage foreclosure against the school, school officials were evicted and the property was sold.After he announced the building of the Pyramid, at age 69, Harvey began suffering a series of serious health problems, but continued to work tirelessly. In 1926, blood poisoning in his foot put him in a coma that lasted several days resulting in surgery, and three months of recuperation. In 1929 he and Anna were finally divorced. Three days later Harvey married his long-time personal secretary May Leake. In 1930, he came down with double pneumonia. He was also going blind and needed younger people to read his letters and the newspaper to him.
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Answer: Leake

Please answer this: The following article contains an answer for the question: What piece did Herbert bon Karajan conduct in 1963? , can you please find it? The first recording of L'incoronazione, with Walter Goehr conducting the Tonhalle-Orchester Zurich in a live stage performance, was issued in 1954. This LP version, which won a Grand Prix du Disque in 1954, is the only recording of the opera that predates the revival of the piece that began with the 1962 Glyndebourne Festival production. In 1963 Herbert von Karajan and the Vienna Staatsoper issued a version described by Gramophone as "far from authentic", while the following year John Pritchard and the Royal Philharmonic Orchestra recorded an abridged version using Leppard's Glyndebourne orchestration. Leppard conducted a Sadler's Wells production, which was broadcast by the BBC and recorded on 27 November 1971. This is the only recording of the opera in English.Nikolaus Harnoncourt's 1974 version, the first recording without cuts, used period instruments in an effort to achieve a more authentic sound, although Denis Arnold has criticised Harnoncourt's "over-ornamentation" of the score, particularly his use of oboe and trumpet flourishes. Arnold showed more enthusiasm for Alan Curtis's 1980 recording, live from La Fenice in Venice. Curtis uses a small band of strings, recorders and continuo, with a trumpets reserved for the final coronation scene. Subsequent recordings have tended to follow the path of authenticity, with versions from baroque specialists including Richard Hickox and the City of London Baroque Sinfonia (1988), Rene Jacobs and Concerto Vocale (1990), and John Eliot Gardiner with the English Baroque Soloists. Sergio Vartolo's production of the opera at Pigna, Corsica, was recorded for Brilliant Classics in 2004. A feature of this recording is the casting of a soprano Nerone in acts I and III, and a tenor Nerone in act II, to allow for the differing vocal requirements of the role in these acts. Vartolo accepts that "a staged performance would almost certainly require a different approach".In more recent years, videotape and DVD versions have proliferated. The first was in 1979, a version directed...
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Answer: L'incoronazione

Please answer this: The following article contains an answer for the question: What is the last name of the person who the poetry of Bach's cantatas is attributed to? , can you please find it? Erschallet, ihr Lieder is the third of the Weimar cantatas. It was the first composed for a feast day, Pentecost Sunday (Whit Sunday), Pentecost being a high holiday along with Christmas and Easter. The prescribed readings for the feast day are taken from the Acts of the Apostles, on the Holy Spirit (Acts 2:113), and from the Gospel of John, in which Jesus announces the Spirit who will teach, in his Farewell discourse (John 14:2331). As in many Bach cantatas, the libretto is compiled from Bible text, contemporary poetry and chorale. The poetry is attributed to Salomon Franck, although the verses are not included in his printed editions. Several of Bach's early stylistic mannerisms appear here, such as a biblical quotation in a recitative second movement rather than in a first choral movement, arias following each other without a recitative in between, and dialogue in a duet.Franck's text shows elements of early Pietism: the expression of extreme feelings, for example "O seligste Zeiten!" (O most blessed times) in the opening chorus, and a "mystical demeanour", for example in the duet of the Soul and the Spirit united. In the middle section of the first movement, Franck paraphrases the Gospel text, which says in verse 23 that God wants to dwell with man, to "Gott will sich die Seelen zu Tempeln bereiten" (God Himself shall prepare our souls for His temple, more literally: "God wants to prepare [our] souls to become his temples"). The words for the recitative are the quotation of verse 23 from the Gospel of John, "Wer mich liebet, der wird mein Wort halten" (Whoever loves Me will keep My Word, and My Father will love him, and We will come to him and make Our dwelling with him). Movement 3 addresses the Trinity and movement 4 the Spirit that was present at the Creation. Movement 5 is a duet of the Soul and the Spirit, underlined by an instrumental quote from Martin Luther's Pentecost hymn "Komm, Heiliger Geist, Herre Gott", which is based on the Latin hymn "Veni Sancte Spiritus, reple tuorum corda fidelium"....
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Answer:
Franck