Please answer this: What is the title of the work within whose thoroughly tonal construction it contains harmonic dissonances that pre-echo the early works of Stravinsky which were soon to follow? Answer the above question based on the context below: The first three symphonies, to which Vaughan Williams assigned titles rather than numbers, form a sub-group within the nine, having programmatic elements, absent from the later six.A Sea Symphony (1910), the only one of the series to include a part for full choir, differs from most earlier choral symphonies in that the choir sings in all the movements. The extent to which it is a true symphony has been debated; in a 2013 study, Alain Frogley describes it as a hybrid work, with elements of symphony, oratorio and cantata. Its sheer lengthabout eighty minuteswas unprecedented for an English symphonic work, and within its thoroughly tonal construction it contains harmonic dissonances that pre-echo the early works of Stravinsky which were soon to follow.A London Symphony (19111913) which the composer later observed might more accurately be called a "symphony by a Londoner", is for the most part not overtly pictorial in its presentation of London. Vaughan Williams insisted that it is "self-expressive, and must stand or fall as 'absolute' music". There are some references to the urban soundscape: brief impressions of street music, with the sound of the barrel organ mimicked by the orchestra; the characteristic chant of the lavender-seller; the jingle of hansom cabs; and the chimes of Big Ben played by harp and clarinet. But commentators have heardand the composer never denied or confirmedsome social comment in sinister echoes at the end of the scherzo and an orchestral outburst of pain and despair at the opening of the finale. Schwartz comments that the symphony, in its "unified presentation of widely heterogeneous elements", is "very much like the city itself". Vaughan Williams said in his later years that this was his favourite of the symphonies.The last of the first group is A Pastoral Symphony (1921). The first three movements are for orchestra alone; a wordless solo soprano or tenor voice is added in the finale. Despite the title the symphony draws little on the folk-songs beloved of the composer, and the...
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Answer: A Sea Symphony
Problem: Which vessel had the nickname"Clipper of the Seas? Answer the above question based on the context below: With government subsidies promised, initially at $385,000 a year, and with the backing of the leading investment bank Brown Brothers, Collins founded the New York and Liverpool United States' Mail Steamship Company, familiarly known as the Collins Line. He immediately embarked on an ambitious steamship construction program. The first of the four Collins Line ships, SS Atlantic, was launched in 1849 and began service in April 1850. Her three sister ships, Pacific, Arctic and Baltic, were all in service before the end of 1850. The four, all constructed of wood, were broadly similar in size and performance; Arctic was marginally the largest, at 284 feet (87 m) in length and 2,856 tons by American custom house measurement. The new Collins Line steamers were about 25 percent larger than the biggest of the Cunard ships, and were soon outperforming them; crossings in ten days became routine. Arctic entered service on October 26, 1850. The luxurious standards of its passenger accommodation contrasted with those experienced by Charles Dickens, who crossed the Atlantic in Cunard's Britannia in 1840. Dickens found his Britannia cabin dark and cramped, "a thoroughly hopeless, and profoundly preposterous box", while the bleak saloon was "a long narrow apartment, not unlike a gigantic hearse". In Arctic, according to a seasoned transatlantic passenger, her cabins "in comfort and elegance surpassed that of any merchant vessel Great Britain then possessed", while the main saloon had "an air of almost Oriental magnificence".Under her captain, James Luce, a 49-year-old veteran of thirty years at sea, Arctic became the most celebrated of the Collins ships. Her record eastbound crossing, from New York to Liverpool in nine days, seventeen hours in the winter of 185152, earned her the title of the "Clipper of the Seas". Luce was admired by passengers as much for his social qualities as for his seamanship; a reporter for Harper's New Monthly Magazine wrote approvingly: "If you ever wish to cross the Atlantic, you will find in the...

A: Arctic
Q: What is the first name of the person who was in China in Adam's opera? Answer the above question based on the context below: Nixon in China is an opera in three acts by John Adams, with a libretto by Alice Goodman. Adams' first opera, it was inspired by U.S. President Richard Nixon's 1972 visit to China. The work premiered at the Houston Grand Opera on October 22, 1987, in a production by Peter Sellars with choreography by Mark Morris. When Sellars approached Adams with the idea for the opera in 1983, Adams was initially reluctant, but eventually decided that the work could be a study in how myths come to be, and accepted the project. Goodman's libretto was the result of considerable research into Nixon's visit, though she disregarded most sources published after the 1972 trip. To create the sounds he sought, Adams augmented the orchestra with a large saxophone section, additional percussion, and electronic synthesizer. Although sometimes described as minimalist, the score displays a variety of musical styles, embracing minimalism after the manner of Philip Glass alongside passages echoing 19th-century composers such as Wagner and Johann Strauss. With these ingredients, Adams mixes Stravinskian 20th-century neoclassicism, jazz references, and big band sounds reminiscent of Nixon's youth in the 1930s. The combination of these elements varies frequently, to reflect changes in the onstage action. Following the 1987 premiere, the opera received mixed reviews; some critics dismissed the work, predicting it would soon vanish. However, it has been presented on many occasions since, in both Europe and North America, and has been recorded twice. In 2011, the opera received its Metropolitan Opera debut, a production based on the original sets, and in the same year was given an abstract production in Toronto by the Canadian Opera Company. Recent critical opinion has tended to recognize the work as a significant and lasting contribution to American opera.
A:
Richard