input: Webern insisted on lyricism, nuance, rubato, sensitivity, and both emotional and intellectual understanding in performance of music; this is evidenced by anecdotes, correspondence, extant recordings of Schubert's Deutsche Tanze (arr. Webern) and Berg's Violin Concerto under his direction, many such detailed markings in his scores, and finally by his compositional process as both publicly stated and later revealed in the musical and extramusical metaphors and associations everywhere throughout his sketches. As both a composer and conductor he was one of many (e.g., Wilhelm Furtwangler, Dimitri Mitropoulos, Hermann Scherchen) in a contemporaneous tradition of conscientiously and non-literally handling notated musical figures, phrases, and even entire scores so as to maximize expressivity in performance and to cultivate audience engagement and understanding. This aspect of Webern's work had been typically missed in his immediate post-war reception, however, even as it may radically affect the music's reception. For example, Boulez's "complete" recording of Webern's music yielded more to this aesthetic the second time after largely missing it the first; but Eliahu Inbal's rendition of Webern's symphony with the hr-Sinfonieorchester is still far more within the spirit of the late Romantic performance tradition (which Webern seemingly intended for his music), nearly slowing to half-tempo for the whole of first movement and taking care to delineate and shape each melodic strand and expressive gesture throughout the entirety of the work. Gunter Wand's 1966 recording of the Cantata No. 1 (1938-40), op. 29, with the Symphonieorchester des Bayerischen Rundfunks et al., may likewise be contrasted with both of Boulez's renditions.

Answer this question "What was Webern's style like?"
output: Webern insisted on lyricism, nuance, rubato, sensitivity, and both emotional and intellectual understanding in performance of music;

input: In January 1945, the Cleveland Rams selected Hirsch in the first round (fifth overall pick) of the 1945 NFL Draft. In May, he announced that he would not sign a contract with the Rams, stating that he intended to return to the University of Wisconsin after his discharge from the military. He ultimately opted not to play in the NFL, instead playing for the Chicago Rockets of the All-America Football Conference (AAFC). Hirsch chose the Rockets because they were coached by Dick Hanley, who had been Hirsch's coach with the El Toro Marines team. Hirsch played three seasons with the Rockets from 1946 to 1948. During those three years, the Rockets compiled a 7-32 record and won only one game in each of the 1947 and 1948 seasons. Hirsch later said the decision to sign with the Rockets was the worst decision he ever made. In a remarkable display of versatility, Hirsch appeared in all 14 games for the Rockets in 1946, contributing 1,445 yards: 384 kickoff return yards and one touchdown; 347 receiving yards and three receiving touchdowns; 235 punt return yards and one touchdown; 226 rushing yards and one rushing touchdown; 156 passing yards and one passing touchdown; and 97 return yards on six interceptions. In September 1947, Hirsch caught a 76-yard touchdown pass for an AAFC record. However, injuries limited Hirsch to five games in 1947. He was described in December 1947 as probably "the highest paid waterboy in pro football." In the fifth game of the 1948 season, Hirsch sustained a fracture on the right side of his skull after being kicked in the head during a game against the Cleveland Browns. Hirsch did not return to action during the 1948 season, totaling 101 receiving yards and 93 rushing yards in five games.

Answer this question "What did he do after 1948?"
output:

input: Mumtaz Mahal was betrothed to Shah Jahan around 30 January 1607, when she was 14 years old at the time and he was 15. They were, however, married five years after the year of their betrothal on 30 April 1612 in Agra. The marriage was a love-match. After their wedding celebrations, Shah Jahan, "finding her in appearance and character elect among all the women of the time", gave her the title "Mumtaz Mahal" Begum ("the Exalted One of the Palace"). During the intervening years between their betrothal and marriage, Shah Jahan had gotten married to his first wife, Princess Kandahari Begum in 1609 and in 1617, after marrying Mumtaz, took a third wife, Izz-un-Nissa Begum (titled Akbarabadi Mahal), the daughter of a prominent Mughal courtier. According to the official court historians, both the marriages were political alliances. By all accounts, Shah Jahan was so taken with Mumtaz that he showed little interest in exercising his polygamous rights with his two other wives, other than dutifully siring a child with each. According to the official court chronicler, Motamid Khan, as recorded in his Iqbal Namah-e-Jahangiri, the relationship with his other wives "had nothing more than the status of marriage. The intimacy, deep affection, attention and favour which Shah Jahan had for Mumtaz exceeded what he felt for his other wives." Likewise, Shah Jahan's historian Inayat Khan commented that 'his whole delight was centered on this illustrious lady [Mumtaz], to such an extent that he did not feel towards the others [i.e. his other wives] one-thousandth part of the affection that he did for her.' Mumtaz had a loving marriage with Shah Jahan. Even during her lifetime, poets would extol her beauty, grace, and compassion. Despite her frequent pregnancies, Mumtaz travelled with Shah Jahan's entourage throughout his earlier military campaigns and the subsequent rebellion against his father. She was his constant companion and trusted confidant, leading court historians to go to unheard lengths to document the intimate and erotic relationship the couple enjoyed. In their nineteen years of marriage, they had fourteen children together (eight sons and six daughters), seven of whom died at birth or at a very young age.

Answer this question "When did she marry?"
output:
30 April 1612