[Q]: This article: A composer may also respond to a text by expanding a choral symphony beyond the normal bounds of the symphonic genre. This is evident in the unusual orchestration and stage directions Berlioz prepared for his Romeo et Juliette. This piece is actually in seven movements, and calls for an intermission after the fourth movement the "Queen Mab Scherzo" to remove the harps from the stage and bring on the chorus of Capulets for the funeral march that follows. Berlioz biographer D. Kern Holoman observed that, "as Berlioz saw it, the work is simply Beethovenian in design, with the narrative elements overlain. Its core approaches a five-movement symphony with the choral finale and, as in the [Symphonie] Fantastique, both a scherzo and a march.... The 'extra' movements are thus the introduction with its potpourri of subsections and the descriptive tomb scene [at the end of the work]."Mahler expanded the Beethovenian model for programmatic as well as symphonic reasons in his Second Symphony, the "Resurrection", the vocal fourth movement, "Urlicht", bridging the childlike faith of the third movement with the ideological tension Mahler seeks to resolve in the finale. He then abandoned this pattern for his Third Symphony, as two movements for voices and orchestra follow three purely instrumental ones before the finale returns to instruments alone. Like Mahler, Havergal Brian expanded the Beethovenian model, but on a much larger scale and with far larger orchestral and choral forces, in his Symphony No. 1 "The Gothic". Written between 1919 and 1927, the symphony was inspired by Goethe's Faust and Gothic cathedral architecture. The Brian First is in two parts. The first consists of three instrumental movements; the second, also in three movements and over an hour in length, is a Latin setting of the Te Deum. contains an answer for the question: What is the name of the work whose core approaches a five-movement symphony with the chorale finale?, what is it ?
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[A]: Romeo et Juliette

input: Please answer the following: This article: Set in Chicago in the 1930s, Bigger Thomas, an African American who lives in an impoverished neighborhood, is employed by a prosperous white family who live in the suburbs of a major city. The money Bigger makes at his new job will be used to supplement his mother's income. As a chauffeur, he is directed by the father of the family to take Mary, the daughter, to the university. Instead, Mary decides to pick up her Socialist boyfriend, Jan, and to spend the time drinking and partying. Jan and Mary portray a young liberal couple who venture into a black neighborhood with Bigger for the sole purpose of being entertained at Ernie's, a black nightclub. On the way home, Mary becomes inebriated and Bigger must get her to her bedroom without being detected. Mary's mother, who is blind, enters the room and Bigger panics at the thought of being caught with a white woman. He accidentally kills Mary by placing a pillow over her head to keep her quiet. Still frightened, Bigger disposes of the body in the furnace, possibly because he feels he would not get a fair trial for the accidental death of a white woman. Meanwhile, Jan is wanted by the police for Mary's murder and Bigger plays a role in the accusations against him. contains an answer for the question: What is the first name of the person who works as a chauffeur?, what is it ?
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output: Bigger

Please answer this: This article: A few weeks after Of Human Feelings was recorded, Mwanga went to Japan to negotiate a deal with Trio Records to have the album released on Phrase Text. Trio, who had previously released a compilation of Coleman's 1966 to 1971 live performances in Paris, prepared to press the album once Mwanga provided the label with the record stamper. Coleman was also set to perform his song "Skies of America" with the NHK Symphony Orchestra, but cancelled both deals upon Mwanga's return from Japan. Mwanga immediately quit after less than four months as Coleman's manager. In 1981, Coleman hired Stan and Sid Bernstein as his managers, who sold the album's recording tapes to Island Records. He signed with the record label that year, and Of Human Feelings was released in 1982 on Island's subsidiary jazz label Antilles Records. Billboard magazine published a front-page story at the time about its distinction as both the first digital album recorded in New York City and the first digital jazz album recorded by an American label.According to jazz writer Francis Davis, "a modest commercial breakthrough seemed imminent" for Coleman, who appeared to be regaining his celebrity. German musicologist Peter Niklas Wilson said the album may have been the most tuneful and commercial-sounding of his career at that point. The album's clean mix and relatively short tracks were interpreted as an attempt for radio airplay by Mandel, who described its production as "the surface consistency that would put it in the pop sphere". Of Human Feelings had no success on the American pop charts, only charting on the Top Jazz Albums, where it spent 26 weeks and peaked at number 15. Because the record offered a middle ground between funk and jazz, McRae argued that it consequently appealed to neither demographic of listeners. Sound & Vision critic Brent Butterworth speculated that it was overlooked because it had electric instruments, rock and funk drumming, and did not conform to what he felt was the hokey image of jazz that many of the genre's fans... contains an answer for the question: What is the last name of the person that said the album released in 1982 offered a middle ground between funk and jazz?, what is it ?
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Answer: McRae

Problem: This article: One of the earliest accounts of Waterfall Gully comes from a "Mr Kent" who, along with Captain Collet Barker and Barker's servant, Miles, climbed Mount Lofty in 1831. In making their ascent the party skirted a ravinedescribed by Mr Kent as possessing "smooth and grassy sides"which is believed by Anne Hardy to have been Waterfall Gully. Subsequent to Barker's ascent, the first settlers who were recorded as having climbed Mount Lofty were Bingham Hutchinson and his servant, William Burt. The pair made three attempts to scale the mount before succeeding, and for their first attempt they attempted to traverse Waterfall Gully. The attempt was unsuccessful, but in July 1837, Hutchinson wrote about the gully through which they had travelled. Waterfall Gully he wrote, had proven difficult, as the plants were so thickly grown as to provide a significant barrier to their progress. Near the point of surrender, Hutchinson described how they were "agreeably surprised by seeing a wall of rock about fifty or sixty feet [fifteen to eighteen metres] high, which stretched across the ravine, and from the top of it leapt the brook which had so long been [their] companion". The brook was First Creek, and the waterfall they sighted is today known as First Falls.Nevertheless, Hutchinson was not the first to see First Falls. The first known recorded sighting of the waterfall by a colonial was that of John William Adams, an emigrant of HMS Buffalo in early January 1837, who named it "Adams' Waterfall". He was traveling with his wife, Susanna and a party consisting of Nicholson's and Breaker's who had the use of a dray to go into the hills. Adams states "we were opposite the spot where the Eagle on the Hill now is, and the question was put, who would volunteer to go down the hillside to try for water". contains an answer for the question: What is the name of the wife of the man that named the waterfall "Adams' Waterfall"?, what is it ?

A:
Susanna