input: Haydn returned to Vienna in 1795. Prince Anton had died, and his successor Nikolaus II proposed that the Esterhazy musical establishment be revived with Haydn serving again as Kapellmeister. Haydn took up the position on a part-time basis. He spent his summers with the Esterhazys in Eisenstadt, and over the course of several years wrote six masses for them. By this time Haydn had become a public figure in Vienna. He spent most of his time in his home, a large house in the suburb of Windmuhle, and wrote works for public performance. In collaboration with his librettist and mentor Gottfried van Swieten, and with funding from van Swieten's Gesellschaft der Associierten, he composed his two great oratorios, The Creation (1798) and The Seasons (1801). Both were enthusiastically received. Haydn frequently appeared before the public, often leading performances of The Creation and The Seasons for charity benefits, including Tonkunstler-Societat programs with massed musical forces. He also composed instrumental music: the popular Trumpet Concerto, and the last nine in his long series of string quartets, including the Fifths, Emperor, and Sunrise. A brief work, "Gott erhalte Franz den Kaiser" (the "Emperor's Hymn"; 1797), achieved great success and became "the enduring emblem of Austrian identity right up to the First World War" (Jones); in modern times it became (with different words) the national anthem of Germany. During the later years of this successful period, Haydn faced incipient old age and fluctuating health, and he had to struggle to complete his final works. His last major work, from 1802, was the sixth mass for the Esterhazys, the Harmoniemesse.

Answer this question "What did he do when he returned?"
output: Nikolaus II proposed that the Esterhazy musical establishment be revived with Haydn serving again as Kapellmeister.

input: The modernists, in general, use a subjective language. Marti's stylistic creed is part of the necessity to de-codify the logic rigor and the linguistic construction and to eliminate the intellectual, abstract and systematic expression. There is the deliberate intention and awareness to expand the expressive system of the language. The style changes the form of thinking. Without falling into unilateralism, Marti values the expression because language is an impression and a feeling through the form. Modernism mostly searches for the visions and realities, the expression takes in the impressions, the state of mind, without reflection and without concept. This is the law of subjectivity. We can see this in works of Marti, one of the first modernists, who conceives the literary task like an invisible unity, an expressive totality, considering the style like "a form of the content" (forma del contenido). The difference that Marti established between prose and poetry are conceptual. Poetry, as he believes, is a language of the permanent subjective: the intuition and the vision. The prose is an instrument and a method of spreading the ideas, and has the goal of elevating, encouraging and animating these ideas rather than having the expression of tearing up the heart, complaining and moaning. The prose is a service to his people. Marti produces a system of specific signs "an ideological code" (codigo ideologico). These symbols claim their moral value and construct signs of ethic conduct. Marti's modernism was a spiritual attitude that was reflected on the language. All his writing defines his moral world. One could also say that his ideological and spiritual sphere is fortified in his writing. The difference between Marti and other modernist initiators such as Manuel Gutierrez Najera, Julian del Casal, and Jose Asuncion Silva (and the similarity between him and Manuel Gonzalez Prada) lies in the profound and transcendent value that he gave to literature, converting prose into an article or the work of a journalist. This hard work was important in giving literature authentic and independent value and distancing it from mere formal amusement. Manuel Gutierez Najera, Ruben Dario, Miguel de Unamuno and Jose Enrique Rodo saved the Martinian articles, which will have an endless value in the writings of the American continent. Apart from Martinian articles. essay writing and literature starts to authorize itself as an alternative and privileged way to talk about politics. Literature starts to apply itself the only hermeneutics able to resolve the enigmas of a Latin American identity.

Answer this question "what has modernism have to do with jose?"
output: We can see this in works of Marti, one of the first modernists, who conceives the literary task like an invisible unity, an expressive totality,

input: Jones left the band due to exhaustion in mid 1985. Dave Bacon briefly replaced him on drums, but moved to bass after the subsequent departure of Schmitz. Jon Card (previously of Personality Crisis, and later of D.O.A and the Subhumans) became the band's drummer, and the group toured North America. SNFU's second and more experimental album, If You Swear, You'll Catch No Fish, was recorded in 1986 and released on BYO. Card left the band after the album's completion. With his replacement, Ted Simm, SNFU self-released the She's Not on the Menu 7" EP, which also included the "Life of a Bag Lady" recordings from 1982. Bacon departed in early 1987 due to musical differences and health concerns. He was replaced by Curtis Creager (of Urban Holiday), a former roommate of Chinn and Marc Belke. The band enjoyed steadily increasing popularity: in 1987, Flipside fanzine voted them Best Live Band, beating the Red Hot Chili Peppers and Fugazi. Metallica included photos of lead singer James Hetfield wearing SNFU's iconic 'zombie' T-shirt in their $5.98 E.P.: Garage Days Re-Revisited. SNFU toured alongside Voivod and the Dayglo Abortions, and signed to the larger Cargo Records imprint. Their third record, Better Than a Stick in the Eye, was produced by Cecil English and issued in 1988. The album remains influential among hardcore punk audiences. The group's touring in support of the album included their first trip to Europe. Due to internal tensions and musical differences, they disbanded in late 1989. Simm returned to his home of Winnipeg, while Chinn relocated to Vancouver and led the short-lived bands The Wongs and Little Joe. The Belkes and Creager formed the Wheat Chiefs, a melodic rock band which released one record, Redeemer, in 1996.

Answer this question "What other band memebers were replaced?"
output:
Bacon departed in early 1987