input: Please answer the following: Found the following article online, use it to answer the question: What is the last name of the person who directed a performance of "Dance of the Nymphs and Shepherds" at Eothen? Descriptions of Imogen as a small child indicate that she had blue eyes, fair hair, an oval face reminiscent of her father's, and a rather prominent nose inherited from her mother. In 1912, at the age of five, she joined the kindergarten class at the Froebel Institute, and remained at the school for five years. Summers were often spent at the Holsts' rented country cottage at Thaxted in Essex, where Gustav Holst began an annual Whitsun Festival in 1916.In 1917 Imogen began boarding at Eothen, a small, private school for girls in Caterham, where Jane Joseph, Gustav's star pupil from SPGS, taught music. A letter home, dated 17 July 1917, tells of "compertishions [sic], and ripping prizes, and strawberries and cream for tea". At the school, Imogen studied piano with Eleanor Shuttleworth, violin with Andre Mangeot (described as "topping") and theory with Jane Joseph ("ripping"). Under Joseph's tuition Imogen produced her first compositionstwo instrumental pieces and four Christmas carol tuneswhich she numbered as Ops. 1, 2, and 3. In the summer term of 1920, she composed and choreographed a "Dance of the Nymphs and Shepherds", which was performed at the school under her direction on 9 July.Imogen left Eothen in December 1920 hoping to study under Ruby Ginner at the Ginner-Mawer School of Dance and Drama, but was rejected on health grounds, although there appeared to be no significant medical issue. She then studied at home under a governess, while waiting to start at St Paul's Girls School in the autumn. At Whitsun 1921 she took part as a dancer in her father's production of Purcell's semi-opera from 1690, Masque of Dioclesian, held in the St Paul's School grounds and repeated a week later in Hyde Park.In September 1921 Imogen began at St Paul's Girls School, and became a boarder from Spring 1922. In July 1922 she performed a Bach Prelude and Fugue on the piano, for which Joseph praised her warmly, writing: "I think everyone enjoyed the Bach from beginning to end, they all made nice contented noises at the...
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output: Holst

input: Please answer the following: Found the following article online, use it to answer the question: What is the first name of the person who Farrar felt disdain for? With the addition of Stirratt, Coomer, and Johnston just prior to the recording of Anodyne, Farrar and Tweedy's relationship became more tumultuous, leading to verbal altercations after concerts. In one account, Tweedy recalled: Around this time, I would say something into a microphone onstage, and afterward [Farrar would] pull me aside and say, "Don't you ever fucking talk into that microphone again." He would misconstrue me talking into the microphone as more evidence of my out-of-control, rampant ego, more evidence of me feeling like I didn't have to be so fucking afraid anymore. Tweedy felt the new members gave him a new opportunity to contribute to the band, but Farrar felt disdain for Tweedy's new carefree attitude. Years later, Farrar would claim that he had been tempted to quit the band after seeing Tweedy stroking the hair of Farrar's girlfriend, an act which he believed to have been a proposition. In January 1994, Farrar called manager Tony Margherita to inform him of his decision to leave the band. Farrar told Margherita that he was no longer having fun, and didn't want to work with Tweedy anymore. Soon after the breakup, Farrar explained his departure: "It just seemed like it reached a point where Jeff and I really weren't compatible. It had ceased to be a symbiotic songwriting relationship, probably after the first record."Tweedy was enraged that he heard the news secondhand from Margherita, since Farrar decided not to tell him in person. The following day, the two singers engaged in a verbal confrontation. As a favor to Margheritawho had spent a substantial amount of money to keep the band runningFarrar agreed to a final tour with Uncle Tupelo in North America. Tweedy and Farrar again engaged in a shouting match two weeks into the tour, due to Farrar's refusal to sing harmony on any of Tweedy's songs. The band made its first appearance on national television during the tour when they were featured on Late Night with Conan O'Brien. Sire had requested that the band perform "The Long Cut" on the...
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output: Jeff

input: Please answer the following: Found the following article online, use it to answer the question: What is the first name of the person Russell was the biographer for? Head VI is an oil-on-canvas painting by the Irish-born figurative artist Francis Bacon, the last of six panels making up his "1949 Head" series. It shows a bust view of a single figure, modeled on Diego Velazquez's Portrait of Innocent X. Bacon applies forceful, expressive brush strokes, and places the figure within a glass cage structure, behind curtain-like drapery. This gives the effect of a man trapped and suffocated by his surroundings, screaming into an airless void. Head VI was the first of Bacon's paintings to reference Velazquez, whose portrait of Pope Innocent X haunted him throughout his career and inspired his series of "screaming popes", a loose series of which there are around 45 surviving individual works. Head VI contains many motifs that were to reappear in Bacon's work. The hanging object, which may be a light switch or curtain tassel, can be found even in his late paintings. The geometric cage is a motif that appears as late as his 198586 masterpiece Study for a Self-PortraitTriptych. Head VI was first exhibited in November 1949 at the Hanover Gallery in London, in a showing organised by one of the artist's early champions, Erica Brausen. At the time, Bacon was a highly controversial but respected artist, best known for his 1944 Three Studies for Figures at the Base of a Crucifixion, which made him the enfant terrible of British art. Head VI drew a mixed reaction from art critics; John Russell, later Bacon's biographer, at the time dismissed it as a cross between "an alligator shorn of its jaws and an accountant in pince-nez who has come to a bad end". In 1989 Lawrence Gowing wrote that the "shock of the picture, when it was seen with a whole series of heads ... was indescribable. It was everything unpardonable. The paradoxical appearance at once of pastiche and iconoclasm was indeed one of Bacon's most original strokes." Art critic and curator David Sylvester described it as a seminal piece from Bacon's unusually productive 194950 period, and one of Bacon's finest popes.
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output:
Francis