Question: Read the following paragraph and extract the answer for the question: What is the first name of the person who is assumed today as having been the architect of the new country house at Belton? The Brownlow family, a dynasty of lawyers, began accumulating land in the Belton area from approximately 1598. In 1609 they acquired the reversion of the manor of Belton itself from the Pakenham family, who finally sold the manor house to Sir John Brownlow I in 1619. The old house was situated near the church in the garden of the present house and remained largely unoccupied, since the family preferred their other houses elsewhere. John Brownlow had married an heiress but was childless. He became attached to two of his more distant blood relations: a great-nephew, also called John Brownlow, and a great-niece, Alice Sherard. The two cousins married each other in 1676 when both were aged 16; three years later, the couple inherited the Brownlow estates from their great-uncle together with an income of 9,000 per annum (about 1.35 million in present-day terms) and 20,000 in cash (equivalent to about 3.01 million now). They immediately bought a town house in the newly fashionable Southampton Square in Bloomsbury, and decided to build a new country house at Belton.Work on the new house began in 1685. The architect thought to have been responsible for the initial design is William Winde, although the house has also been attributed to Sir Christopher Wren, while others believe the design to be so similar to Roger Pratt's Clarendon House, London, that it could have been the work of any talented draughtsman. The assumption popular today, that Winde was the architect, is based on the stylistic similarity between Belton and Coombe Abbey, which was remodelled by Winde between 1682 and 1685. Further evidence is a letter dated 1690, in which Winde recommends a plasterer who worked at Belton to another of his patrons.
Answer: William
[Q]: Read the following paragraph and extract the answer for the question: What was the last name of the daughter of a respected Cirencester solicitor? Holst was born in Cheltenham, Gloucestershire, the elder of the two children of Adolph von Holst, a professional musician, and his wife, Clara Cox, nee Lediard. She was of mostly British descent, daughter of a respected Cirencester solicitor; the Holst side of the family was of mixed Swedish, Latvian and German ancestry, with at least one professional musician in each of the previous three generations.One of Holst's great-grandfathers, Matthias Holst, born in Riga, Latvia, was of German origin; he served as composer and harp-teacher to the Imperial Russian Court in St Petersburg. Matthias's son Gustavus, who moved to England with his parents as a child in 1802, was a composer of salon-style music and a well-known harp teacher. He appropriated the aristocratic prefix "von" and added it to the family name in the hope of gaining enhanced prestige and attracting pupils.Holst's father, Adolph von Holst, became organist and choirmaster at All Saints' Church, Cheltenham; he also taught, and gave piano recitals. His wife, Clara, a former pupil, was a talented singer and pianist. They had two sons; Gustav's younger brother, Emil Gottfried, became known as Ernest Cossart, a successful actor in the West End, New York and Hollywood. Clara died in February 1882, and the family moved to another house in Cheltenham, where Adolph recruited his sister Nina to help raise the boys. Gustav recognised her devotion to the family and dedicated several of his early compositions to her. In 1885 Adolph married Mary Thorley Stone, another of his pupils. They had two sons, Matthias (known as "Max") and Evelyn ("Thorley"). Mary von Holst was absorbed in theosophy and not greatly interested in domestic matters. All four of Adolph's sons were subject to what one biographer calls "benign neglect", and Gustav in particular was "not overburdened with attention or understanding, with a weak sight and a weak chest, both neglectedhe was 'miserable and scared'."
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[A]: Lediard
input: Please answer the following: Read the following paragraph and extract the answer for the question: What is the first name of the person who was described as "immensely encouraging and supportive?" The company, retaining the title "Sadler's Wells Opera", opened at the Coliseum on 21 August 1968, with a new production of Mozart's Don Giovanni, directed by Sir John Gielgud. Though this production was not well received, the company rapidly established itself with a succession of highly praised productions of other works. Arlen died in January 1972, and was succeeded as managing director by Lord Harewood.The success of the 1968 Mastersingers was followed in the 1970s by the company's first Ring cycle, conducted by Goodall, with a new translation by Andrew Porter and designs by Ralph Koltai. The cast included Norman Bailey, Rita Hunter and Alberto Remedios. In Harewood's view, among the highlights of the first ten years at the Coliseum were the Ring, Prokofiev's War and Peace, and Richard Strauss's Salome and Der Rosenkavalier. The company's musical director from 1970 to 1977 was Charles Mackerras. Harewood praised his exceptional versatility, with a range "from The House of the Dead to Patience." Among the operas he conducted for the company were Handel's Julius Caesar starring Janet Baker and Valerie Masterson; five Janacek operas; The Marriage of Figaro with pioneering use of 18th century performing style; Massenet's Werther; Donizetti's Mary Stuart with Baker; and Sullivan's Patience. The company took the production of the last to the Vienna Festival in 1975, along with Britten's Gloriana. Sir Charles Groves succeeded Mackerras as musical director from 1978 to 1979, but Groves was unwell and unhappy during his brief tenure. Starting in 1979, Mark Elder succeeded Groves in the post, and described Groves "immensely encouraging and supportive".A long-standing concern of Arlen and then Harewood was the need to change the company's name to reflect the fact that it was no longer based at Sadler's Wells theatre. Byam Shaw commented "The one major setback the Sadler's Wells Opera Company suffered from its transplant was that unheeding taxi drivers kept on taking their patrons up to Rosebery Avenue".Harewood...
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output:
"immensely encouraging and supportive"