input: Please answer the following: The following article contains an answer for the question: What is the full name of the person that formed an immediate bond with Drake? , can you please find it? On returning to England, Drake moved into his sister's flat in Hampstead, London, before enrolling at Fitzwilliam College, Cambridge University that October to study English Literature. His tutors found him bright but unenthusiastic and unwilling to apply himself. His biographer, Trevor Dann, notes that he had difficulty connecting with staff and fellow students, and that matriculation photographs from this time portray a sullen young man. Cambridge placed emphasis on its rugby and cricket teams, yet by this time Drake had lost interest in sport, preferring to stay in his college room smoking cannabis, and listening to and playing music. According to fellow student Brian Wells, "they were the rugger buggers and we were the cool people smoking dope".In September 1967, Drake met Robert Kirby, a music student who went on to orchestrate many of the string and woodwind arrangements for Drake's first two albums. By this time, Drake had discovered the British and American folk music scenes, and was influenced by performers such as Bob Dylan, Donovan, Van Morrison, Josh White and Phil Ochs. He began performing in local clubs and coffee houses around London, and in February 1968, while playing support to Country Joe and the Fish at the Roundhouse in Camden Town, made an impression on Ashley Hutchings, bass player with Fairport Convention. Hutchings recalls being impressed by Drake's guitar skill, but even more so by his image: "He looked like a star. He looked wonderful, he seemed to be 7 ft [tall]." Hutchings introduced Drake to the 25-year-old American producer Joe Boyd, owner of the production and management company Witchseason Productions. The company was, at the time, licensed to Island Records, and Boyd, who had discovered Fairport Convention and introduced John Martyn and the Incredible String Band to a mainstream audience, was a significant and respected figure on the UK folk scene. He and Drake formed an immediate bond, and Boyd acted as a mentor to Drake throughout his career. Impressed by a four-track demo...
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output: Joe Boyd
Please answer this: The following article contains an answer for the question: What is the last name of the person who parodied some secular cantatas as church cantatas without major changes, for example Ein Herz, das seinen Jesum lebend wei, BWV 134? , can you please find it? As far as we know, the earliest cantatas of Johann Sebastian Bach were performed in Muhlhausen from 1706 to 1708. He was employed as an organist there, but he occasionally composed cantatas, mostly for special occasions. The cantatas were based mainly on biblical texts and hymns, such as Aus der Tiefen rufe ich, Herr, zu dir, BWV 131 (a psalm setting), and the Easter chorale cantata Christ lag in Todes Banden, BWV 4. Bach was next appointed organist and chamber musician in Weimar on 25 June 1708 at the court of the co-reigning dukes in Saxe-Weimar, Wilhelm Ernst and his nephew Ernst August. He initially concentrated on the organ, composing major works for the instrument, including the Orgelbuchlein, the Toccata and Fugue in D minor, BWV 565, and the Prelude and Fugue in E major, BWV 566. He was promoted to Konzertmeister on 2 March 1714, an honour that entailed performing a church cantata monthly in the Schlosskirche. The first cantatas he composed in the new position were Himmelskonig, sei willkommen, BWV 182, for Palm Sunday, Weinen, Klagen, Sorgen, Zagen, BWV 12 for Jubilate Sunday, and Erschallet, ihr Lieder, BWV 172, for Pentecost. Mostly inspired by texts by the court poet, Salomo Franck, they contain recitatives and arias. When Johann Samuel Drese, the Kapellmeister (director of music), died in 1716, Bach hoped in vain to become his successor. Bach looked for a better position and found it as Kapellmeister at the court of Leopold, Prince of Anhalt-Kothen. However, the duke in Weimar did not dismiss him and arrested him for disobedience. He was released on 2 December 1717.In Kothen, Bach found an employer who was an enthusiastic musician himself. The court was Calvinist, therefore Bach's work from this period was mostly secular, including the orchestral suites, the cello suites, the sonatas and partitas for solo violin, and the Brandenburg Concertos. He composed secular cantatas for the court for occasions such as New Year's Day and the prince's birthday, including Die Zeit, die Tag und Jahre macht, BWV...
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Answer: Bach
input question: The following article contains an answer for the question: When did Bellete win an exhibition sponsored by Metro Goldwyn Mayer? , can you please find it? Though she did not again win the Sulman, she was successful in having works hung in that competition on many occasions, including the 1946, 1947, 1948 and 1950 shows. Bellette continued to paint classical scenes, and around 1950 produced the work Chorus without Iphigenia. Purchased by the National Gallery of Australia in 1976, this oil painting shows five figures, "posed like statues in a tableau vivant, [and who] possess a kind of erotic energy". Anne Gray, the National Gallery's curator, interpreted the scene chosen by Bellette: Although nothing is happening in this image, we associate the figures with tragedy, with death and mourning with the classical reference in the painting's title. Iphigenia, Agamemnon's daughter, gave her life for her country when the goddess Artemis asked for it in exchange for favourable winds so that the Greek ships could sail to Troy. Bellette's melancholic painting might be supposed to portray Iphigenia's friends mourning her death. In 1951, Bellette came second in the Commonwealth Jubilee Art Competition, behind the young Jeffrey Smart. The following year, she won a competitive exhibition sponsored by Metro Goldwyn Mayer, with Girl With Still Life.Although Haefliger never critiqued his wife's exhibitions, others occasionally stepped in to provide reviews in the Herald. Describing her 1950 exhibition at the Macquarie Galleries, one critic considered it "one of the most stimulating and refreshing that has been seen here for a long time" and that "She paints with a strong, sombre palette and her forms are sculptured with great decision. She uses paint sensuously and passionately, as paint, not as so many contemporary Australians do, as mere colour".Two years later, the same reviewer, attending another of the artist's solo Sydney shows, observed that Bellette:???
output answer:
The following year