Problem: Found the following article online, use it to answer the question: What is the first name of the person whose father was a peripatetic music teacher? Edmund Sharpe was born on 31 October 1809 at Brook Cottage, Brook Street in Knutsford, Cheshire, the first child of Francis and Martha Sharpe. His father, a peripatetic music teacher and organist at Knutsford parish church, came from Stamford in Lincolnshire. At the time of marriage his wife, Martha Whittaker, was on the staff of an academy for young ladies, Belvedere House, in Bath, Somerset. During his childhood in Knutsford, the young Edmund played with Elizabeth Stevenson, the future Mrs Gaskell. In 1812 the Sharpe family moved across town from Over Knutsford to a farm in Nether Knutsford called Heathside, when Francis Sharpe then worked as both farmer and music teacher. Edmund was initially educated by his parents, but by 1818 he was attending a school in Knutsford. Two years later he was a boarder at a school near Runcorn, and in 1821 at Burney's Academy in Greenwich. Edmund's father died suddenly in November 1823, aged 48, and his mother moved to Lancaster with her family, where she later resumed her teaching career.Edmund continued his education at Burney's Academy, and became head boy. In August 1827 he moved to Sedbergh School (then in the West Riding of Yorkshire, now in Cumbria), where he remained for two years. In November 1829 he entered St John's College, Cambridge as a Lupton scholar. At the end of his course in 1832 he was awarded a Worts Travelling Bachelorship by the University of Cambridge, which enabled him to travel abroad for three years' study. At this time his friend from Lancaster at Trinity College, William Whewell, was Professor of Mineralogy. John Hughes, Edmund Sharpe's biographer, is of the opinion that Whewell was influential in gaining this award for Sharpe. Edmund graduated BA in 1833, and was admitted to the degree of MA in 1836. During his time abroad he travelled in Germany and southern France, studying Romanesque and early Gothic architecture. He had intended to travel further into northern France, but his tour was curtailed in Paris owing to "fatigue and illness"....

A: Edmund
Problem: Given the question: Found the following article online, use it to answer the question: What is the name of the person who, like Massenet, used leitmotifs sparingly? Discounting his collaboration with Dukas in the completion of Guiraud's unfinished Fredegonde, Saint-Saens wrote twelve operas, two of which are operas comiques. During the composer's lifetime his Henry VIII became a repertory piece; since his death only Samson et Dalila has been regularly staged, although according to Schonberg, Ascanio (1890) is considered by experts to be a much finer work. The critic Ronald Crichton writes that for all his experience and musical skill, Saint-Saens "lacked the 'nose' of the theatre animal granted, for example, to Massenet who in other forms of music was his inferior". In a 2005 study, the musical scholar Steven Huebner contrasts the two composers: "Saint-Saens obviously had no time for Massenet's histrionics". Saint-Saens's biographer James Harding comments that it is regrettable that the composer did not attempt more works of a light-hearted nature, on the lines of La princesse jaune, which Harding describes as like Sullivan "with a light French touch".Although most of Saint-Saens's operas have remained neglected, Crichton rates them as important in the history of French opera, as "a bridge between Meyerbeer and the serious French operas of the early 1890s". In his view, the operatic scores of Saint-Saens have, in general, the strengths and weaknesses of the rest of his music "lucid Mozartian transparency, greater care for form than for content ... There is a certain emotional dryness; invention is sometimes thin, but the workmanship is impeccable." Stylistically, Saint-Saens drew on a range of models. From Meyerbeer he drew the effective use of the chorus in the action of a piece; for Henry VIII he included Tudor music he had researched in London; in La princesse jaune he used an oriental pentatonic scale; from Wagner he derived the use of leitmotifs, which, like Massenet, he used sparingly. Huebner observes that Saint-Saens was more conventional than Massenet so far as through composition is concerned, more often favouring discrete arias and ensembles, with less...
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The answer is:
Saint-Saens
[Q]: Found the following article online, use it to answer the question: What is the last name of the woman who visited the Belton with the man who would become Duke of Windsor in 1936? 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...
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[A]:
Simpson