input: Please answer the following: What is the last name of the person who was determined to be a professional artist and designer from an early age? Answer the above question based on the context below: Sir Osbert Lancaster, CBE (4 August 1908 27 July 1986) was an English cartoonist, architectural historian, stage designer and author. He was known for his cartoons in the British press, and for his lifelong work to inform the general public about good buildings and architectural heritage. The only child of a prosperous family, Lancaster was educated at Charterhouse School and Lincoln College, Oxford, at both of which he was an undistinguished scholar. From an early age he was determined to be a professional artist and designer, and studied at leading art colleges in Oxford and London. While working as a contributor to The Architectural Review in the mid-1930s, Lancaster published the first of a series of books on architecture, aiming to simultaneously amuse the general reader and demystify the subject. Several of the terms he coined as labels for architectural styles have gained common usage, including "Pont Street Dutch" and "Stockbrokers' Tudor", and his books have continued to be regarded as important works of reference on the subject. In 1938 Lancaster was invited to contribute topical cartoons to The Daily Express. He introduced the single column-width cartoon popular in the French press but not until then seen in British papers. Between 1939 and his retirement in 1981 he drew about 10,000 of these "pocket cartoons", which made him a nationally known figure. He developed a cast of regular characters, led by his best-known creation, Maudie Littlehampton, through whom he expressed his views on the fashions, fads and political events of the day. From his youth, Lancaster wanted to design for the theatre, and in 1951 he was commissioned to create costumes and scenery for a new ballet, Pineapple Poll. Between then and the early 1970s he designed new productions for the Royal Ballet, Glyndebourne, D'Oyly Carte, the Old Vic and the West End. His productivity declined in his later years, when his health began to fail. He died at his London home in Chelsea, aged 77. His diverse career, honoured by a ...
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output: Lancaster

input: Please answer the following: What is the last name of the person who did not sanction a nickname for his work? Answer the above question based on the context below: The Symphony No. 8 in E-flat major by Gustav Mahler is one of the largest-scale choral works in the classical concert repertoire. Because it requires huge instrumental and vocal forces it is frequently called the "Symphony of a Thousand", although the work is normally presented with far fewer than a thousand performers and the composer did not sanction that name. The work was composed in a single inspired burst, at Maiernigg in southern Austria in the summer of 1906. The last of Mahler's works that was premiered in his lifetime, the symphony was a critical and popular success when he conducted the Munich Philharmonic in its first performance, in Munich, on 12 September 1910. The fusion of song and symphony had been a characteristic of Mahler's early works. In his "middle" compositional period after 1901, a change of direction led him to produce three purely instrumental symphonies. The Eighth, marking the end of the middle period, returns to a combination of orchestra and voice in a symphonic context. The structure of the work is unconventional; instead of the normal framework of several movements, the piece is in two parts. Part I is based on the Latin text of a 9th-century Christian hymn for Pentecost, Veni creator spiritus ("Come, Creator Spirit"), and Part II is a setting of the words from the closing scene of Goethe's Faust. The two parts are unified by a common idea, that of redemption through the power of love, a unity conveyed through shared musical themes. Mahler had been convinced from the start of the work's significance; in renouncing the pessimism that had marked much of his music, he offered the Eighth as an expression of confidence in the eternal human spirit. In the period following the composer's death, performances were comparatively rare. However, from the mid-20th century onwards the symphony has been heard regularly in concert halls all over the world, and has been recorded many times. While recognising its wide popularity, modern critics have divided opinions on the work; Theodor W....
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output: Mahler

input: Please answer the following: What is the full name of the father of the man who was commissioned as a second lieutenant in the Norfolk Regiment? Answer the above question based on the context below: Lancaster was born in London in 1908, the only child of Robert Lancaster (18801917) and his wife, Clare Bracebridge, nee Manger. His paternal grandfather, Sir William Lancaster, rose from modest beginnings to become the chief executive of the Prudential Assurance Company, Lord of the manor of East Winch, Norfolk, and a philanthropist in the field of education. Osbert's mother was an artist, known for her paintings of flowers, who had exhibited regularly at the Royal Academy; his father was a publisher, who volunteered for the army on the outbreak of the First World War, was commissioned as a second lieutenant in the Norfolk Regiment, and was killed at the Battle of Arras in April 1917. Elgin Crescent, Notting Hill, where Lancaster was born and raised, was an upper-middle class area. The family maintained a staff of servants, including a cook and a nurse. Such was the mixed nature of London in the early years of the 20th century that a short distance away were the deprived and dangerous Notting Dale and the Portobello Road, where, as Lancaster recalled in his 1953 memoirs, it was said to be impossible for a well-dressed man to walk and emerge intact. From an early age Lancaster was aware of the variety of classes, nationalities, and social attitudes around him.In 1918 Lancaster was sent to St Ronan's preparatory school, Worthing. The regime at the school leaned heavily towards sport, in which he was neither interested nor proficient. The headmaster, Stanley Harris, was a celebrated amateur footballer and occasional first class cricketer, but he was reasonably tolerant of Lancaster's disdain for games, and on the whole Lancaster enjoyed his time at the school. His education there was, he later commented, of more importance to him than anything he learned later in his school and university career. He left St Ronan's in 1921, aged thirteen, and went to Charterhouse, where his father and uncles had all been sent. There he was shocked by the bullying and bad language, but in addition to its sporty, philistine...
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output:
William Lancaster