Q: Given the following context: Five men, criminals Ray, Dave, Stevie, Julian ("Julie" as a nickname), and Jason, plan a heist to steal a minimum of 2 million. Using a truck modified as a battering ram, the group break into a security depot in London and steal a large amount of money before the police arrive. However, they discover they barely got the amount of money they wanted, and only 68,000 to each man. Julian demands an extra amount of money as "expenses" for his work, but is beaten and placed in the boot of Ray's car until he just accepts his share. The group, without Julian, later spend time at a bar with fellow criminal Sonny, and Ray's girlfriend Connie, a protester. Ray and Stevie also visit an elderly couple, Linda and Bill, where they leave their stolen money for safekeeping. The next day, Ray and Stevie, who live together with Connie, are alerted by a bruised Dave that his money was stolen, apparently by Julian. Ray, Dave and Stevie investigate Linda and Bill's home to find them murdered and the money stolen, leaving Ray emotionally distraught. He visits Julian but his money is missing too. They conclude that Sonny stole the money and break into his house, only to find Jason dead with a headwound. The four are alerted to a pair of undercover police officers and flee, Dave and Julian engaging in a shootout with the police. Believing that he may be arrested for murder, Ray decides to flee after the money is found, and goes to his mother and Connie for help. His mother gives him some money and her car to use, disappointed in her son's career but still caring for him. Ray then speaks with Connie and asks her to come with him, and to meet her at a roadside service station on the M1 if she decides to come. answer the following question: Who is given a car to help escape?
A: Ray

Question: Given the following context: Tchaikovsky struggled with sonata form. Its principle of organic growth through the interplay of musical themes was alien to Russian practice. The traditional argument that Tchaikovsky seemed unable to develop themes in this manner fails to consider this point; it also discounts the possibility that Tchaikovsky might have intended the development passages in his large-scale works to act as "enforced hiatuses" to build tension, rather than grow organically as smoothly progressive musical arguments.According to Brown and musicologists Hans Keller and Daniel Zhitomirsky, Tchaikovsky found his solution to large-scale structure while composing the Fourth Symphony. He essentially sidestepped thematic interaction and kept sonata form only as an "outline," as Zhitomirsky phrases it. Within this outline, the focus centered on periodic alternation and juxtaposition. Tchaikovsky placed blocks of dissimilar tonal and thematic material alongside one another, with what Keller calls "new and violent contrasts" between musical themes, keys, and harmonies. This process, according to Brown and Keller, builds momentum and adds intense drama. While the result, Warrack charges, is still "an ingenious episodic treatment of two tunes rather than a symphonic development of them" in the Germanic sense, Brown counters that it took the listener of the period "through a succession of often highly charged sections which added up to a radically new kind of symphonic experience" (italics Brown), one that functioned not on the basis of summation, as Austro-German symphonies did, but on one of accumulation.Partly due to the melodic and structural intricacies involved in this accumulation and partly due to the composer's nature, Tchaikovsky's music became intensely expressive. This intensity was entirely new to Russian music and prompted some Russians to place Tchaikovsky's name alongside that of Dostoyevsky. German musicologist Hermann Kretzschmar credits Tchaikovsky in his later symphonies with offering "full images of life, developed... answer the following question: What is the name of the person that said Tchaikovsky's music has the mark of the truly lived and felt experience?
Answer: Hermann Kretzschmar

[Q]: Given the following context: In 1916 Jerusalem, German troops led by Von Schiller arrest French wine seller Paul Rouget for spying and hang him. His daughter Juliet goes into hiding dressed as a boy and starts spying on the Germans. Three members of the Australian Lighthorse, Red, Larry and Jim, are enjoying themselves (including a game of two-up) on leave in Cairo, when called to fight the Turks. They take part in several battles including the march to Ogratina and the Battle of Romani. Red is separated from the others after one battle and has his life saved by Juliet, who he thinks is an Arab boy. Red is reunited with his friends and they arrive at an Arab village. He meets Juliet and realises she was the boy who saved his life. They begin a romance. The Battle of Gaza takes place; Jim and Larry are mortally wounded and Red is captured. He is sent to Beersheba to work as slave labour and discovers the town is wired with explosives. Juliet rescues him and they spend the night together in a hut. Jim manages to rejoin his unit in time to participate in the charge of the Light Horse at the Battle of Beersheba, and stops Von Schiller before he detonates the explosives. The Germans and Turks are defeated and a wounded Red is reunited with Juliet. answer the following question: What are the first names of the people who begin a romance?
****
[A]: Red

Question: Given the following context: The Sitwells looked after their protege both materially and culturally, giving him not only a home but a stimulating cultural education. He took music lessons with Ernest Ansermet, Ferruccio Busoni and Edward J. Dent. He attended the Russian ballet, met Stravinsky and Gershwin, heard the Savoy Orpheans at the Savoy Hotel and wrote an experimental string quartet heavily influenced by the Second Viennese School that was performed at a festival of new music at Salzburg in 1923. Alban Berg heard the performance and was impressed enough to take Walton to meet Arnold Schoenberg, Berg's teacher and the founder of the Second Viennese School.In 1923, in collaboration with Edith Sitwell, Walton had his first great success, though at first it was a succes de scandale. Facade was first performed in public at the Aeolian Hall, London, on 12 June. The work consisted of Edith's verses, which she recited through a megaphone from behind a screen, while Walton conducted an ensemble of six players in his accompanying music. The press was generally condemnatory. Walton's biographer Michael Kennedy cites as typical a contemporary headline: "Drivel That They Paid to Hear". The Daily Express loathed the work, but admitted that it was naggingly memorable. The Manchester Guardian wrote of "relentless cacophony". The Observer condemned the verses and dismissed Walton's music as "harmless". In The Illustrated London News, Dent was much more appreciative: "The audience was at first inclined to treat the whole thing as an absurd joke, but there is always a surprisingly serious element in Miss Sitwell's poetry and Mr Walton's music ... which soon induced the audience to listen with breathless attention." In The Sunday Times, Ernest Newman said of Walton, "as a musical joker he is a jewel of the first water".Among the audience were Evelyn Waugh, Virginia Woolf and Noel Coward. The last was so outraged by the avant-garde nature of Sitwell's verses and the staging, that he marched out ostentatiously during the performance. The players did... answer the following question: What is the name of the person who attended the Russian ballet, met Stravinsky and Gershwin, and heard the Savoy Orpheans at the Savoy Hotel?
Answer:
Walton