Question: Read the following paragraph and extract the answer for the question: What is the name of the album that included Barrett's final contribution to Pink Floyd's discography? In 1968, Pink Floyd returned to Abbey Road Studios to record their second album, A Saucerful of Secrets. The album included Barrett's final contribution to their discography, "Jugband Blues". Waters began to develop his own songwriting, contributing "Set the Controls for the Heart of the Sun", "Let There Be More Light" and "Corporal Clegg". Wright composed "See-Saw" and "Remember a Day". Norman Smith encouraged them to self-produce their music, and they recorded demos of new material at their houses. With Smith's instruction at Abbey Road, they learned how to use the recording studio to realise their artistic vision. However, Smith remained unconvinced by their music, and when Mason struggled to perform his drum part on "Remember a Day", Smith stepped in as his replacement. Wright recalled Smith's attitude about the sessions, "Norman gave up on the second album ... he was forever saying things like, 'You can't do twenty minutes of this ridiculous noise'". As neither Waters nor Mason could read music, to illustrate the structure of the album's title track, they invented their own system of notation. Gilmour later described their method as looking "like an architectural diagram".Released in June 1968, the album featured a psychedelic cover designed by Storm Thorgerson and Aubrey Powell of Hipgnosis. The first of several Pink Floyd album covers designed by Hipgnosis, it was the second time that EMI permitted one of their groups to contract designers for an album jacket. The release peaked at number 9, spending 11 weeks on the UK chart. Record Mirror gave the album an overall favourable review, but urged listeners to "forget it as background music to a party". John Peel described a live performance of the title track as "like a religious experience", while NME described the song as "long and boring ... [with] little to warrant its monotonous direction". On the day after the album's UK release, Pink Floyd performed at the first ever free concert in Hyde Park. In July 1968, they returned to the US for a second...
Answer: A Saucerful of Secrets
[Q]: Read the following paragraph and extract the answer for the question: What school did Giovanni Battista Barbirolli make his cello concerto debut? Giovanni Battista Barbirolli was born in Southampton Row, Holborn, London, the second child and eldest son of an Italian father and a French mother. He was a British national from birth, and as Southampton Row is within the sound of Bow Bells, Barbirolli always regarded himself as a Cockney. His father, Lorenzo Barbirolli (18641929), was a Venetian violinist who had settled in London with his wife, Louise Marie, nee Ribeyrol (18701962). Lorenzo and his father had played in the orchestra at La Scala, Milan, where they had taken part in the premiere of Otello in 1887. In London they played in West End theatre orchestras, principally that of the Empire, Leicester Square. The young Barbirolli began to play the violin when he was four, but soon changed to the cello. He later said that this was at the instigation of his grandfather who, exasperated at the child's habit of wandering around while practising the violin, bought him a small cello to stop him from "getting in everybody's way". His education at St. Clement Danes Grammar School overlapped, from 1910, with a scholarship at Trinity College of Music. As a Trinity student, he made his concert debut in a cello concerto in the Queen's Hall in 1911. The following year he won a scholarship to the Royal Academy of Music, which he attended from 1912 to 1916, studying harmony, counterpoint and theory under Dr. J. B. McEwen and the cello with Herbert Walenn. In 1914 he was joint winner of the academy's Charles Rube Prize for ensemble playing, and in 1916 The Musical Times singled him out as "that excellent young 'cello player, Mr Giovanni Barbirolli." The principal of the Academy, Sir Alexander Mackenzie, had forbidden students to play the chamber music of Ravel, which he regarded as "a pernicious influence". Barbirolli was keenly interested in modern music, and he and three colleagues secretly rehearsed Ravel's String Quartet in the privacy of a men's lavatory in the Academy.From 1916 to 1918 Barbirolli was a freelance cellist in London. He recalled, "My first...
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[A]: Trinity College of Music
input: Please answer the following: Read the following paragraph and extract the answer for the question: What is the last name of the person who was bullied and ridiculed by his classmates? Except for three months' formal schooling as a 12-year-old, during which he was bullied and ridiculed by his classmates, Percy was educated at home. Rose, an autodidact with a dominating presence, supervised his music and literature studies and engaged other tutors for languages, art and drama. From his earliest lessons, Percy developed a lifelong fascination with Nordic culture; writing late in life, he said that the Icelandic Saga of Grettir the Strong was "the strongest single artistic influence on my life". As well as showing precocious musical talents, he displayed considerable early gifts as an artist, to the extent that his tutors thought his future might lie in art rather than music. At the age of 10 he began studying piano under Louis Pabst, a German immigrant then considered to be Melbourne's leading piano teacher. Grainger's first known composition, "A Birthday Gift to Mother", is dated 1893. Pabst arranged Grainger's first public concert appearances, at Melbourne's Masonic Hall in July and September 1894. The boy played works by Bach, Beethoven, Schumann and Scarlatti, and was warmly complimented in the Melbourne press.After Pabst returned to Europe in the autumn of 1894, Grainger's new piano tutor, Adelaide Burkitt, arranged for his appearances at a series of concerts in October 1894, at Melbourne's Royal Exhibition Building. The size of this enormous venue horrified the young pianist; nevertheless, his performance delighted the Melbourne critics, who dubbed him "the flaxen-haired phenomenon who plays like a master". This public acclaim helped Rose to decide that her son should continue his studies at the Hoch Conservatory in Frankfurt, Germany, an institution recommended by William Laver, head of piano studies at Melbourne's Conservatorium of music. Financial assistance was secured through a fund-raising benefit concert in Melbourne and a final recital in Adelaide, after which mother and son left Australia for Europe on 29 May 1895. Although Grainger never returned permanently to Australia, he...
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output:
Grainger