Question: Given the following context: Dr. Frank Peralta is stabbed to death in his apartment one night. The detective on the case, Lt. Stevenson, quickly finds multiple witnesses putting Peralta's lover, Terry Collins, at the scene. However, when Stevenson finds Terry and questions her, she has an iron-clad alibi with multiple witnesses. It is revealed that Terry has an identical twin sister, Ruth, and the pair share the same job and routinely switch places for their own benefit. Stevenson and the district attorney are unable to prosecute, since the twins refuse to confirm which one of them has the alibi. Unable to accept the "perfect crime", Lt. Stevenson asks Dr. Scott Elliot for help. Scott is an expert on twin study, and has been routinely encountering the Collins twins at their shared place of work, but does not know which one is which. As a front, Scott asks Terry and Ruth if he can study both of them individually as part of his research. The twins accept, though Ruth is worried that Scott might find out that Terry was at Peralta's apartment the night of the murder. However, Terry is attracted to Scott and insists that they can keep the secret for the sake of seeing him. She also comforts Ruth, reminding her that she was only at Peralta's apartment but didn't kill him. From Scott's psychological tests and by spending time with them, he discovers that Ruth is kind and loving, while Terry is highly intelligent, insane, and has been manipulating Ruth almost their entire lives. Terry is jealous that people keep preferring Ruth over her, and is again enraged when Scott falls in love with Ruth instead of her. Terry starts methodically gaslighting Ruth, making her believe that she's hallucinating and going insane, in the hopes of pushing her to suicide. answer the following question: Who does the deceased's lover look like?
Answer: Ruth

[Q]: Given the following context: The final large reception room on the first floor is the Hondecoeter Room (16), so named because of the three huge oil paintings by Melchior d'Hondecoeter (16361695), depicting scenes of birds in courtyards, which are fitted into the neo-Carolean panelling. The panelling was introduced to the room by the 3rd Earl Brownlow in 1876, when it was furnished as the principal dining room of the mansion. The room was initially created as a library in 1808 from the upper part of the earlier kitchen which had originally risen two stories. The West staircase (14) was originally a service stairs, and would have been plainer in decor, but by the late nineteenth century it was in regular use by the family.Either side of the Marble Hall, lie the Great Staircase (2) and the Tapestry Room (11), which contains a collection of early eighteenth century Mortlake tapestries. The Great Staircase to the east of the Marble Hall is unusually placed at Belton, as in a house of this period one would expect to find the staircase in the hall. The stairs rise in three flights around the west, north, and east walls to the former Great Dining Room above the Marble Hall. Thus the staircase served as an important state procession link between the three principal reception rooms of the house. The Great Dining Room, now the Library, has been greatly altered and all traces of Carolean decoration removed, first by James Wyatt in 1778 when it was transformed into a drawing room with a vaulted ceiling, and again in 1876, when its use was again changed, this time to a library. The room contains some 6000 volumes, a superb example of book collecting over 350 years. When Lord Tyrconnel died in 1754 a catalogue of his library identified almost 2,300 books. Almost all of these remain in the Belton library today. Rupert Gunnis attributed the carved marble chimneypiece depicting two Roman goddesses to Sir Richard Westmacott.Leading from the Library is the Queen's Room, the former "Best Bed Chamber". This panelled room was redecorated in 1841 for the visit... answer the following question: What is the last name of the man who carved the chimneypiece in the house with the Hondecoeter room?
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[A]: Westmacott

input: Please answer the following: Given the following context: By the summer of 1906, Mahler had been director of the Vienna Hofoper for nine years. Throughout this time his practice was to leave Vienna at the close of the Hofoper season for a summer retreat, where he could devote himself to composition. Since 1899 this had been at Maiernigg, near the resort town of Maria Worth in Carinthia, southern Austria, where Mahler built a villa overlooking the Worthersee. In these restful surroundings Mahler completed his Symphonies No. 4, No. 5, No. 6 and No. 7, his Ruckert songs and his song cycle Kindertotenlieder ("Songs on the Death of Children").Until 1901, Mahler's compositions had been heavily influenced by the German folk-poem collection Des Knaben Wunderhorn ("The Youth's Magic Horn"), which he had first encountered around 1887. The music of Mahler's many Wunderhorn settings is reflected in his Symphonies No. 2, No. 3 and No. 4, which all employ vocal as well as instrumental forces. From about 1901, however, Mahler's music underwent a change in character as he moved into the middle period of his compositional life. Here, the more austere poems of Friedrich Ruckert replace the Wunderhorn collection as the primary influence; the songs are less folk-related, and no longer infiltrate the symphonies as extensively as before. During this period Symphonies No. 5, No. 6 and No. 7 were written, all as purely instrumental works, portrayed by Mahler scholar Deryck Cooke as "more stern and forthright ..., more tautly symphonic, with a new granite-like hardness of orchestration".Mahler arrived at Maiernigg in June 1906 with the draft manuscript of his Seventh Symphony; he intended to spend time revising the orchestration until an idea for a new work should strike. The composer's wife Alma Mahler, in her memoirs, says that for a fortnight Mahler was "haunted by the spectre of failing inspiration"; Mahler's recollection, however, is that on the first day of the vacation he was seized by the creative spirit, and plunged immediately into composition of the work that would become his... answer the following question: What is the piece that the who directed Vienna Hofoper for nine years created while vacationing at Maiernigg?
++++++++++
output:
Eighth Symphony