[Q]: What are the two names of the work that was well received in Gothenburg in 1860? Answer the above question based on the context below: Dissatisfied with his first large-scale orchestral work, the D major Overture of 1848, Smetana studied passages from Beethoven, Mendelssohn, Weber and Berlioz before producing his Triumphal Symphony of 1853. Though this is dismissed by Rosa Newmarch as "an epithalamium for a Habsburg Prince", Smetana's biographer Brian Large identifies much in the piece that characterises the composer's more mature works. Despite the symphony's rejection by the Court and the lukewarm reception on its premiere, Smetana did not abandon the work. It was well received in Gothenburg in 1860, and a revised version was performed in Prague in 1882, without the "triumphal" tag, under Adolf Cech. The piece is now sometimes called the Festive Symphony. Smetana's visit to Liszt at Weimar in the summer of 1857, where he heard the latter's Faust Symphony and Die Ideale, caused a material reorientation of Smetana's orchestral music. These works gave Smetana answers to many compositional problems relating to the structure of orchestral music, and suggested a means for expressing literary subjects by a synthesis between music and text, rather than by simple musical illustration. These insights enabled Smetana to write the three Gothenburg symphonic poems, (Richard III, Wallenstein's Camp and Hakon Jarl), works that transformed Smetana from a composer primarily of salon pieces to a modern neo-Romantic, capable of handling large-scale forces and demonstrating the latest musical concepts. From 1862 Smetana was largely occupied with opera and, apart from a few short pieces, did not return to purely orchestral music before beginning Ma vlast in 1872. In his introduction to the Collected Edition Score, Frantisek Bartol brackets Ma vlast with the opera Libuse as "direct symbols of [the] consummating national struggle". Ma vlast is the first of Smetana's mature large-scale works that is independent of words, and its musical ideas are bolder than anything he had tried before. To musicologist John Clapham, the cycle presents "a cross-section of Czech...
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[A]: Festive Symphony

[Q]: What is the first name of the person who felt the new members gave him a new opportunity to contribute to the band? Answer the above question based on the context below: With the addition of Stirratt, Coomer, and Johnston just prior to the recording of Anodyne, Farrar and Tweedy's relationship became more tumultuous, leading to verbal altercations after concerts. In one account, Tweedy recalled: Around this time, I would say something into a microphone onstage, and afterward [Farrar would] pull me aside and say, "Don't you ever fucking talk into that microphone again." He would misconstrue me talking into the microphone as more evidence of my out-of-control, rampant ego, more evidence of me feeling like I didn't have to be so fucking afraid anymore. Tweedy felt the new members gave him a new opportunity to contribute to the band, but Farrar felt disdain for Tweedy's new carefree attitude. Years later, Farrar would claim that he had been tempted to quit the band after seeing Tweedy stroking the hair of Farrar's girlfriend, an act which he believed to have been a proposition. In January 1994, Farrar called manager Tony Margherita to inform him of his decision to leave the band. Farrar told Margherita that he was no longer having fun, and didn't want to work with Tweedy anymore. Soon after the breakup, Farrar explained his departure: "It just seemed like it reached a point where Jeff and I really weren't compatible. It had ceased to be a symbiotic songwriting relationship, probably after the first record."Tweedy was enraged that he heard the news secondhand from Margherita, since Farrar decided not to tell him in person. The following day, the two singers engaged in a verbal confrontation. As a favor to Margheritawho had spent a substantial amount of money to keep the band runningFarrar agreed to a final tour with Uncle Tupelo in North America. Tweedy and Farrar again engaged in a shouting match two weeks into the tour, due to Farrar's refusal to sing harmony on any of Tweedy's songs. The band made its first appearance on national television during the tour when they were featured on Late Night with Conan O'Brien. Sire had requested that the band perform "The Long Cut" on the...
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[A]: Jeff

[Q]: What kind of structure does a giant octopus wrap its tentacles around? Answer the above question based on the context below: Off the coast of Alaska, oceanographer Emma MacNeil is studying the migration patterns of whales aboard an experimental submarine she took without permission from her employer. Meanwhile, a military helicopter drops experimental sonar transmitters into the water, causing a pod of whales to go out of control and start ramming a nearby glacier. In the chaos, the helicopter crashes into the glacier, and the combined damage breaks the glacier open, thawing two hibernating, prehistoric creatures. MacNeil narrowly avoids destruction as, unknown to her, a giant shark and octopus are freed. Some time later, a drilling platform off the coast of Japan is attacked by the octopus, which has tentacles large enough to wrap around the entire structure. After returning to Point Dume, California, MacNeil investigates the corpse of a beached whale covered with many bloody wounds. Her employer Dick Richie believes them to be from a tanker propeller, but MacNeil insists they appear to be from a creature. Later, she extracts what appears to be a shark's tooth from one of the wounds. Elsewhere, the huge shark leaps tens of thousands of feet into the air from the ocean and attacks a commercial aircraft, forcing it to crash into the water.
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[A]:
drilling platform