Problem: Anton Friedrich Wilhelm (von) Webern (German: ['anton 've:ban] ( listen); 3 December 1883 - 15 September 1945) was an Austrian composer and conductor. Along with his mentor Arnold Schoenberg and his colleague Alban Berg, Webern was in the core of those in the circle of the Second Viennese School, including Ernst Krenek and Theodor W. Adorno. As an exponent of atonality and twelve-tone technique, Webern exerted influence on contemporaries Luigi Dallapiccola, Krenek, and even Schoenberg himself.

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.

What was Webern's style like?

Answer with quotes: Webern insisted on lyricism, nuance, rubato, sensitivity, and both emotional and intellectual understanding in performance of music;

Background: Ayaan Hirsi Ali (; Dutch: [a:'ja:n 'hi:rsi 'a:li] ( listen); born Ayaan Hirsi Magan, 13 November 1969) is a Somali-born Dutch-American activist, feminist, author, scholar and former politician.
Context: Susan Dominus of the New York Times wrote: "In "Heretic," Hirsi Ali forgoes autobiography for the most part in favor of an extended argument. But she has trouble making anyone else's religious history - even that of Muhammad himself, whose life story she recounts - as dramatic as she has made her own. And she loses the reader's trust with overblown rhetoric. ... She tries to warn Americans about their naivete in the face of encroaching Islamic influences, maintaining that officials and journalists, out of cultural sensitivity, sometimes play down the honor killings that occur in the West." The Economist wrote: "Unfortunately, very few Muslims will accept Ms Hirsi Ali's full-blown argument, which insists that Islam must change in at least five important ways. A moderate Muslim might be open to discussion of four of her suggestions if the question were framed sensitively. Muslims, she says, must stop prioritizing the afterlife over this life; they must "shackle sharia" and respect secular law; they must abandon the idea of telling others, including non-Muslims, how to behave, dress or drink; and they must abandon holy war. However, her biggest proposal is a show-stopper: she wants her old co-religionists to "ensure that Muhammad and the Koran are open to interpretation and criticism"." Clifford May of The Washington Times wrote: "The West is enmeshed in 'an ideological conflict' that cannot be won 'until the concept of jihad has itself been decommissioned.'" May goes on to suggest that if "American and Western leaders continue to refuse to comprehend who is fighting us and why, the consequences will be dire." In May 2015, Mehdi Hasan wrote an article in The Guardian arguing that Islam doesn't need a reformation and that she will never win any fans over from Muslims, regardless of whether they're liberal or conservative. Hasan wrote: "She's been popping up in TV studios and on op-ed pages to urge Muslims, both liberal and conservative, to abandon some of their core religious beliefs while uniting behind a Muslim Luther. Whether or not mainstream Muslims will respond positively to a call for reform from a woman who has described the Islamic faith as a 'destructive, nihilistic cult of death' that should be 'crushed' and also suggesting that Benjamin Netanyahu be given the Nobel Peace Prize, is another matter."
Question: what else does she try to warn them about
Answer: maintaining that officials and journalists, out of cultural sensitivity, sometimes play down the honor killings that occur in the West."

Question:
Alison Maria Krauss was born in Decatur, Illinois, to Fred and Louise Krauss. Her father was a German immigrant who came to the United States in 1952 and taught his native language. Her mother, of German and Italian descent, is the daughter of artists. Krauss grew up in the college town of Champaign, home to the University of Illinois at Urbana-Champaign.
Krauss made her recording debut in 1985 on the independent album, Different Strokes, featuring her brother Viktor Krauss, Swamp Weiss and Jim Hoiles. From the age of 12 she performed with bassist and songwriter John Pennell in a band called "Silver Rail", replacing their previous fiddler Andrea Zonn. Pennell later changed the band's name to Union Station after another band was discovered with the name Silver Rail. Pennell remains one of her favorite songwriters and wrote some of her early work including the popular "Every Time You Say Goodbye". Later that year, she signed to Rounder Records, and in 1987, at 16, she released her debut album Too Late to Cry with Union Station as her backup band. Krauss' debut solo album was quickly followed by her first group album with Union Station in 1989, Two Highways. The album includes the traditional tunes "Wild Bill Jones" and "Beaumont Rag", along with a bluegrass interpretation of The Allman Brothers' "Midnight Rider". Krauss' contract with Rounder required her to alternate between releasing a solo album and an album with Union Station, and she released the solo album I've Got That Old Feeling in 1990. It was her first album to rise onto the Billboard charts, peaking in the top seventy-five on the country chart. The album also was a notable point in her career as she earned her first Grammy Award, the single "Steel Rails" was her first single tracked by Billboard, and the title single "I've Got That Old Feeling" was the first song for which she recorded a music video.
Answer this question using a quote from the text above:

Who produced the album ?

Answer:
independent album, Different Strokes,