Whose husband is being appointed to the Senate? Answer the above question based on the context below: Pontius Pilate offers to release either Jesus of Nazareth or Barabbas, in keeping with the Passover custom. The crowd gathered for the pardoning chooses Barabbas, and Jesus is condemned to crucifixion. Returning to his friends, Barabbas asks for his lover, Rachel. His friends inform him that Rachel has become a follower of Christ. Rachel soon returns, but she is not happy to see Barabbas. Barabbas witnesses the crucifixion of Jesus. As Jesus dies, the sky turns black, and Barabbas is shaken. He watches Christ's body sealed in the tomb. On the third morning, Barabbas finds the tomb open. Rachel tells him that Christ has risen, but Barabbas says it is an illusion, or that His followers have stolen the body. He visits the apostles; they do not know where He is, but also believe He is risen. Rachel preaches in Jerusalem about the Christ. She is stoned to death at the insistence of the priests. Barabbas returns to his criminal ways and robs a caravan transporting several of the priests. He throws stones at one of them rather than fleeing, and is captured by Roman soldiers. The law forbids Pilate from executing someone who has been pardoned, so he sentences Barabbas to lifelong slavery in the sulfur mines of Sicily. Barabbas survives this hellish existence for the next twenty years. He is chained to Sahak, a sailor who was sent to the mines for allowing slaves to escape. Sahak is a Christian. Sahak at first hates Barabbas for being pardoned instead of "the Master", but the two men eventually become friends. Over time, Sahak becomes too weak to work. As the guards are about to kill him the mine is destroyed in an earthquake. Sahak and Barabbas are the only survivors. Julia, the superstitious wife of the local prefect, considers them blessed. The prefect is due to leave for Rome to be appointed to the Senate. Julia insists that Barabbas and Sahak accompany him for good luck.
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Answer: Julia

What is the name of the work that brought Bartok some measure of financial security and provided him with a much-needed emotional boost? Answer the above question based on the context below: Szigeti was an avid champion of new music, and frequently planned his recitals to include new or little-known works alongside the classics. Many composers wrote new works for him, notably Bela Bartok, Ernest Bloch, and Eugene Ysaye, along with lesser-known composers such as David Diamond and Hamilton Harty. The reason for Szigeti's appeal to composers was articulated by Bloch upon completion of his Violin Concerto: the concerto's premiere would have to be delayed a full year for Szigeti to be the soloist, and Bloch agreed, saying that Modern composers realize that when Szigeti plays their music, their inmost fancy, their slightest intentions become fully realized, and their music is not exploited for the glorification of the artist and his technique, but that artist and technique become the humble servant of the music. Szigeti was also the dedicatee of the first of Eugene Ysaye's Six Sonatas for Solo Violin; in fact, Ysaye's inspiration to compose the sonatas came from hearing Szigeti's performances of J.S. Bach's Six Sonatas and Partitas, to which they are intended as a modern counterpart.Perhaps Szigeti's most fruitful musical partnership was with his friend Bela Bartok. The first piece Bartok dedicated to him was the First Rhapsody for violin and orchestra (or piano) of 1928; the rhapsody, based on both Romanian and Hungarian folk tunes, was one of a pair of violin rhapsodies written in 1928 (the other being dedicated to Zoltan Szekely.) In 1938, Szigeti and clarinetist Benny Goodman teamed up to commission a trio from Bartok: originally intended to be a short work just long enough to fill both sides of a 78 rpm record, the piece soon expanded beyond its modest intent and became the three-movement Contrasts for piano, violin and clarinet. In 1944, by which time Szigeti and Bartok had both fled to the United States to escape the war in Europe, Bartok's health was failing and he had sunk into depression. He was in dire need of money, but felt no inspiration to compose and was convinced that his works would...
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Answer: Concerto for Orchestra

What other famous composer have Russians placed the man who struggled with sonata form alongside? Answer the above question based on the context below: 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...
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Answer:
Dostoyevsky