Q: What is the answer for the question: What was the first name of the person Catherine could have given the piece to ask as gift by way of protection on his travels? from the following article ? The identity of the donor has not been established, although a number of suggestions have been advanced over the last 200 years. Harbison suggests the work's small scale indicates that it functioned as a portable altarpiece rather than as a private devotional work, and thus was commissioned by or for a member of the clergy. Other art historians have argued that the donor may have been a Genoese merchant. This belief has been fed by the triptych's similarity to Giovanni Mazone's Virgin and Child altarpiece in Pontremoli, Tuscany, which may place it in the Italian region of Liguria at latest by the end of the 15th century. Damaged coats of arms on the inner frames have been linked to the Giustiniani family, known for establishing trade links with Bruges in the 14th and 15th centuries. If not commissioned by that family, historical record place the work at least in their possession by the end of the century. In the early 1800s, Frances Weale attempted to place Michele Giustiniani as the donor, however later historical research has been unable to verify his presence in Bruges around 1437, and he seems to have returned to Italy by 1430.Mid-twentieth century technical examination revealed the Giustiniani coats of arms may have been painted over an earlier heraldic design, perhaps as early as the 15th century, whose signifiance and history is now lost. Dhanens theorises that a member of the Giustiniani family may have established other associations with St. Michael and St. Catherine, advancing that they were a member of the Italian Rapondi family, whose trading house in Paris was named after St. Catherine. Their daughter, also named Catherine, married the Italian merchant Michel Burlamacchi (Bollemard in Flemish) from Lucca, who was active in Bruges. From this Dhanens theorises the piece was commissioned as a wedding gift for the couple. Documents show weavers in Wervik paid taxes to Catherine Rapondi and in September 1434, when Michele Burlamacchi was tax collector in that town, van Eyck received a stipend funded...
A: Michele
Question: What is the answer for the question: What is the last name of the person who had Jane as a pupil? from the following article ? Holst's absorption of folksong, not only in the melodic sense but in terms of its simplicity and economy of expression, helped to develop a style that many of his contemporaries, even admirers, found austere and cerebral. This is contrary to the popular identification of Holst with The Planets, which Matthews believes has masked his status as a composer of genuine originality. Against charges of coldness in the music, Imogen cites Holst's characteristic "sweeping modal tunes mov[ing] reassuringly above the steps of a descending bass", while Michael Kennedy points to the 12 Humbert Wolfe settings of 1929, and the 12 Welsh folksong settings for unaccompanied chorus of 193031, as works of true warmth.Many of the characteristics that Holst employed unconventional time signatures, rising and falling scales, ostinato, bitonality and occasional polytonality set him apart from other English composers. Vaughan Williams remarked that Holst always said in his music what he wished to say, directly and concisely; "He was not afraid of being obvious when the occasion demanded, nor did he hesitate to be remote when remoteness expressed his purpose". Kennedy has surmised that Holst's economy of style was in part a product of the composer's poor health: "the effort of writing it down compelled an artistic economy which some felt was carried too far". However, as an experienced instrumentalist and orchestra member, Holst understood music from the standpoint of his players and made sure that, however challenging, their parts were always practicable. According to his pupil Jane Joseph, Holst fostered in performance "a spirit of practical comradeship ... none could know better than he the boredom possible to a professional player, and the music that rendered boredom impossible".
Answer: Holst
Question: What is the answer for the question: What is the name of the individual who signed the letter: "Your poor insane mother"? from the following article ? After leaving the army in January 1919, Grainger refused an offer to become conductor of the Saint Louis Symphony Orchestra and resumed his career as a concert pianist. He was soon performing around 120 concerts a year, generally to great critical acclaim, and in April 1921 reached a wider audience by performing in a cinema, New York's Capitol Theatre. Grainger commented that the huge audiences at these cinema concerts often showed greater appreciation for his playing than those at established concert venues such as Carnegie Hall and the Aeolian. In the summer of 1919 he led a course in piano technique at Chicago Musical College, the first of many such educational duties he would undertake in later years.Amid his concert and teaching duties, Grainger found time to re-score many of his works (a habit he continued throughout his life) and also to compose new pieces: his Children's March: Over the Hills and Far Away, and the orchestral version of The Power of Rome and the Christian Heart both originated in this period. He also began to develop the technique of elastic scoring, a form of flexible orchestration which enabled works to be performed by different numbers of players and instrument types, from small chamber groups up to full orchestral strength.In April 1921 Grainger moved with his mother to a large house in White Plains, New York. This was his home for the remainder of his life. From the beginning of 1922 Rose's health deteriorated sharply; she was suffering from delusions and nightmares, and became fearful that her illness would harm her son's career. Because of the closeness of the bond between the two, there had long been rumours that their relationship was incestuous; in April 1922 Rose was directly challenged over this issue by her friend Lotta Hough. From her last letter to Grainger, dated 29 April, it seems that this confrontation unbalanced Rose; on 30 April, while Grainger was touring on the West Coast, she jumped to her death from an office window on the 18th floor of the...
Answer:
Rose