Question: The following article contains an answer for the question: What is the name of the person that introduced his students to Liszt and Wagner? , can you please find it? In 1861 Saint-Saens accepted his only post as a teacher, at the Ecole de Musique Classique et Religieuse, Paris, which Louis Niedermeyer had established in 1853 to train first-rate organists and choirmasters for the churches of France. Niedermeyer himself was professor of piano; when he died in March 1861, Saint-Saens was appointed to take charge of piano studies. He scandalised some of his more austere colleagues by introducing his students to contemporary music, including that of Schumann, Liszt and Wagner. His best-known pupil, Gabriel Faure, recalled in old age: After allowing the lessons to run over, he would go to the piano and reveal to us those works of the masters from which the rigorous classical nature of our programme of study kept us at a distance and who, moreover, in those far-off years, were scarcely known. ... At the time I was 15 or 16, and from this time dates the almost filial attachment ... the immense admiration, the unceasing gratitude I [have] had for him, throughout my life. Saint-Saens further enlivened the academic regime by writing, and composing incidental music for, a one-act farce performed by the students (including Andre Messager). He conceived his best-known piece, The Carnival of the Animals, with his students in mind, but did not finish composing it until 1886, more than twenty years after he left the Niedermeyer school.In 1864 Saint-Saens caused some surprise by competing a second time for the Prix de Rome. Many in musical circles were puzzled by his decision to enter the competition again, now that he was establishing a reputation as a soloist and composer. He was once more unsuccessful. Berlioz, one of the judges, wrote: We gave the Prix de Rome the other day to a young man who wasn't expecting to win it and who went almost mad with joy. We were all expecting the prize to go to Camille Saint-Saens, who had the strange notion of competing. I confess I was sorry to vote against a man who is truly a great artist and one who is already well known, practically a celebrity....
Answer: Saint-Saens
[Q]: The following article contains an answer for the question: What is the last name of the person who struggled through his lifetime for recognition from the British musical establishment? , can you please find it? Alan Dudley Bush (22 December 1900 31 October 1995) was a British composer, pianist, conductor, teacher and political activist. A committed communist, his uncompromising political beliefs were often reflected in his music. He composed prolifically across a range of genres, but struggled through his lifetime for recognition from the British musical establishment, which largely ignored his works. Bush, from a prosperous middle-class background, enjoyed considerable success as a student at the Royal Academy of Music (RAM) in the early 1920s, and spent much of that decade furthering his compositional and piano-playing skills under distinguished tutors. A two-year period in Berlin in 1929 to 1931, early in the Nazi Party's rise to power, cemented Bush's political convictions and moved him from the mainstream Labour Party to the Communist Party of Great Britain which he joined in 1935. He wrote several large-scale works in the 1930s, and was heavily involved with workers' choirs for whom he composed pageants, choruses and songs. His pro-Soviet stance led to a temporary ban on his music by the BBC in the early years of the Second World War, and his refusal to modify his position in the postwar Cold War era led to a more prolonged semi-ostracism of his music. As a result, the four major operas he wrote between 1950 and 1970 were all premiered in East Germany. In his prewar works, Bush's style retained what commentators have described as an essential Englishness, but was also influenced by the avant-garde European idioms of the inter-war years. During and after the war he began to simplify this style, in line with his Marxism-inspired belief that music should be accessible to the mass of the people. Despite the difficulties he encountered in getting his works performed in the West he continued to compose until well into his eighties. He taught composition at the RAM for more than 50 years, published two books, was the founder and long-time president of the Workers' Music Association, and served as chairman and...
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[A]: Bush
input: Please answer the following: The following article contains an answer for the question: What was the name of the person who became Excalibur in subsequent Arthurian tales? , can you please find it? How much of this narrative was Geoffrey's own invention is open to debate. He seems to have made use of the list of Arthur's twelve battles against the Saxons found in the 9th-century Historia Brittonum, along with the battle of Camlann from the Annales Cambriae and the idea that Arthur was still alive. Arthur's status as the king of all Britain seems to be borrowed from pre-Galfridian tradition, being found in Culhwch and Olwen, the Welsh Triads, and the saints' lives. Finally, Geoffrey borrowed many of the names for Arthur's possessions, close family, and companions from the pre-Galfridian Welsh tradition, including Kaius (Cei), Beduerus (Bedwyr), Guenhuuara (Gwenhwyfar), Uther (Uthyr) and perhaps also Caliburnus (Caledfwlch), the latter becoming Excalibur in subsequent Arthurian tales. However, while names, key events, and titles may have been borrowed, Brynley Roberts has argued that "the Arthurian section is Geoffrey's literary creation and it owes nothing to prior narrative." Geoffrey makes the Welsh Medraut into the villainous Modredus, but there is no trace of such a negative character for this figure in Welsh sources until the 16th century. There have been relatively few modern attempts to challenge the notion that the Historia Regum Britanniae is primarily Geoffrey's own work, with scholarly opinion often echoing William of Newburgh's late-12th-century comment that Geoffrey "made up" his narrative, perhaps through an "inordinate love of lying". Geoffrey Ashe is one dissenter from this view, believing that Geoffrey's narrative is partially derived from a lost source telling of the deeds of a 5th-century British king named Riotamus, this figure being the original Arthur, although historians and Celticists have been reluctant to follow Ashe in his conclusions.Whatever his sources may have been, the immense popularity of Geoffrey's Historia Regum Britanniae cannot be denied. Well over 200 manuscript copies of Geoffrey's Latin work are known to have survived, as well as translations into other languages....
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output:
Caliburnus