input: 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.

Answer this question "Is there anything else interesting?"
output: This aspect of Webern's work had been typically missed in his immediate post-war reception,

input: Dean graduated from Yale University with a Bachelor of Arts in political science in 1971. As a freshman, he requested specifically to room with an African-American. The university housing office complied and Dean roomed with two Southern black students and one white student from Pennsylvania. One of Dean's roommates was Ralph Dawson, the son of a sheet metal worker in Charleston, South Carolina and today a New York City labor lawyer. Dawson said of Dean: Unless you operated from a stereotypic understanding of the Yale white boy as rich, you wouldn't know that about Howard.... When it came to race- and I don't know whether this was a function of intent or just came naturally- Howard was not patronizing in any way. He was willing to confront in discussion what a lot of white students weren't. He would hold his ground. He would respect that I knew forty-two million times more about being black than he did. But that didn't mean he couldn't hold a view on something relating to civil rights that would be as valid as mine. There were lots of well-meaning people at Yale who wanted you to understand that they understood your plight; you'd get into a conversation and they would yield too soon, so we didn't get the full benefit of the exchange. Howard very much thought he was capable of working an issue through. He was inquisitive. And when he came to a conclusion he would be as strong as anybody else. I don't think he's stubborn. He's a guy who's always been comfortable in his own skin. That's something you still see in him today, and it gets him into some degree of controversy. Though eventually eligible to be drafted into the military, he received a deferment for an unfused vertebra. He explained to Tim Russert on Meet the Press, "I was really in no hurry to join the military." He briefly tried a career as a stockbroker before deciding on a career in medicine, completing pre-medicine classes at Columbia University. In 1974, Dean's younger brother Charlie, who had been traveling through southeast Asia at the time, was captured and killed by Laotian guerrillas, a tragedy widely reported to have an enormous influence in Dean's life; he wore his brother's belt every day of his presidential campaign.

Answer this question "What else did he do while at Yale?"
output: Though eventually eligible to be drafted into the military, he received a deferment for an unfused vertebra.

input: Houdini performed at least three variations on a buried alive stunt during his career. The first was near Santa Ana, California in 1915, and it almost cost Houdini his life. Houdini was buried, without a casket, in a pit of earth six feet deep. He became exhausted and panicked while trying to dig his way to the surface and called for help. When his hand finally broke the surface, he fell unconscious and had to be pulled from the grave by his assistants. Houdini wrote in his diary that the escape was "very dangerous" and that "the weight of the earth is killing." Houdini's second variation on buried alive was an endurance test designed to expose mystical Egyptian performer Rahman Bey, who had claimed to use supernatural powers to remain in a sealed casket for an hour. Houdini bettered Bey on August 5, 1926, by remaining in a sealed casket, or coffin, submerged in the swimming pool of New York's Hotel Shelton for one and a half hours. Houdini claimed he did not use any trickery or supernatural powers to accomplish this feat, just controlled breathing. He repeated the feat at the YMCA in Worcester, Massachusetts on September 28, 1926, this time remaining sealed for one hour and eleven minutes. Houdini's final buried alive was an elaborate stage escape that featured in his full evening show. Houdini would escape after being strapped in a straitjacket, sealed in a casket, and then buried in a large tank filled with sand. While posters advertising the escape exist (playing off the Bey challenge by boasting "Egyptian Fakirs Outdone!"), it is unclear whether Houdini ever performed buried alive on stage. The stunt was to be the feature escape of his 1927 season, but Houdini died on October 31, 1926. The bronze casket Houdini created for buried alive was used to transport Houdini's body from Detroit to New York following his death on Halloween.

Answer this question "What was the second variation?"
output:
Houdini's second variation on buried alive was an endurance test designed to expose mystical Egyptian performer Rahman Bey,