Background: Saint Pedro Calungsod (Latin: Petrus Calungsod, Spanish: Pedro Calungsod or archaically Pedro Calonsor, Italian: Pietro Calungsod; July 21, 1654 - April 2, 1672), also known as Peter Calungsod and Pedro Calonsor, was a Roman Catholic Filipino migrant, sacristan and missionary catechist who, along with the Spanish Jesuit missionary Diego Luis de San Vitores, suffered religious persecution and martyrdom in Guam for their missionary work in 1672. While in Guam, Calungsod preached Christianity to the Chamorro people through catechism, while baptizing infants, children and adults at the risk and expense of being persecuted and eventually murdered.
Context: Few details of the early life of Calungsod (spelled Calonsor in Spanish records) are known. Historical records do not mention his exact birthplace or birth date and merely identified him as "Pedro Calonsor, el Visayo". Historical research identifies Ginatilan in Cebu, Hinunangan and Hinundayan in Southern Leyte, and the Molo district of Iloilo City as possible places of origin; Loboc, Bohol also makes a claim. Of these claims, the ones from Molo, Iloilo and Ginatilan, Cebu are considered the strongest. Proponents of an Ilonggo origin argue that in the early Spanish period, the term "Visayan" exclusively referred to people from the islands of Negros or Panay, whereas people from Cebu, Bohol and Leyte were called "Pintados". Thus, had he been born in Cebu he would have been referred to as "Calonsor El Pintado" instead of "Calonsor El Visayo"; the term "Visayan" received its present scope (i.e., including inhabitants of Cebu, Bohol and Leyte) sometime the 1700s. However, American historian and scholar John N. Schumacher, S.J. disputes the Bisaya/Pintados dichotomy claim as at that time the Pintados were also referred to as Visayans regardless of location and said Pedro "was a Visayan" and may have been but doubtfully "from the island of Cebu" or "could have come any other Visayas islands." The Cebu camp reasoned that Ginatilan contains the highest concentrations of people surnamed Calungsod and that during the beatification process, they were the original claimants to having been Calungsod's birthplace. The Calungsod family in Iloilo also claims to be the oldest branch, based on baptismal records containing the surname "Calungsod" dating to circa 1748, compared to branches in Cebu and Leyte who possess baptismal records dating only to 1828 and 1903. Regardless of his precise origin, all four locations were within the territory of the Diocese of Cebu at the time of Calungsod's martyrdom.
Question: what year was he born?
Answer: sometime the 1700s.

Background: Anton Friedrich Wilhelm (von) Webern (German: ['anton 've:ban] ( listen); 3 December 1883 - 15 September 1945) was an Austrian composer and conductor. Along with his mentor Arnold Schoenberg and his colleague Alban Berg, Webern was in the core of those in the circle of the Second Viennese School, including Ernst Krenek and Theodor W. Adorno. As an exponent of atonality and twelve-tone technique, Webern exerted influence on contemporaries Luigi Dallapiccola, Krenek, and even Schoenberg himself.
Context: Webern insisted on lyricism, nuance, rubato, sensitivity, and both emotional and intellectual understanding in performance of music; this is evidenced by anecdotes, correspondence, extant recordings of Schubert's Deutsche Tanze (arr. Webern) and Berg's Violin Concerto under his direction, many such detailed markings in his scores, and finally by his compositional process as both publicly stated and later revealed in the musical and extramusical metaphors and associations everywhere throughout his sketches. As both a composer and conductor he was one of many (e.g., Wilhelm Furtwangler, Dimitri Mitropoulos, Hermann Scherchen) in a contemporaneous tradition of conscientiously and non-literally handling notated musical figures, phrases, and even entire scores so as to maximize expressivity in performance and to cultivate audience engagement and understanding. This aspect of Webern's work had been typically missed in his immediate post-war reception, however, even as it may radically affect the music's reception. For example, Boulez's "complete" recording of Webern's music yielded more to this aesthetic the second time after largely missing it the first; but Eliahu Inbal's rendition of Webern's symphony with the hr-Sinfonieorchester is still far more within the spirit of the late Romantic performance tradition (which Webern seemingly intended for his music), nearly slowing to half-tempo for the whole of first movement and taking care to delineate and shape each melodic strand and expressive gesture throughout the entirety of the work. Gunter Wand's 1966 recording of the Cantata No. 1 (1938-40), op. 29, with the Symphonieorchester des Bayerischen Rundfunks et al., may likewise be contrasted with both of Boulez's renditions.
Question: did his work go unnoticed any time?
Answer:
Webern's work had been typically missed in his immediate post-war reception, however, even as it may radically affect the music's reception.