Q: What is the name of the work that brought Bartok some measure of financial security and provided him with a much-needed emotional boost? Answer the above question based on the context below: Szigeti was an avid champion of new music, and frequently planned his recitals to include new or little-known works alongside the classics. Many composers wrote new works for him, notably Bela Bartok, Ernest Bloch, and Eugene Ysaye, along with lesser-known composers such as David Diamond and Hamilton Harty. The reason for Szigeti's appeal to composers was articulated by Bloch upon completion of his Violin Concerto: the concerto's premiere would have to be delayed a full year for Szigeti to be the soloist, and Bloch agreed, saying that Modern composers realize that when Szigeti plays their music, their inmost fancy, their slightest intentions become fully realized, and their music is not exploited for the glorification of the artist and his technique, but that artist and technique become the humble servant of the music. Szigeti was also the dedicatee of the first of Eugene Ysaye's Six Sonatas for Solo Violin; in fact, Ysaye's inspiration to compose the sonatas came from hearing Szigeti's performances of J.S. Bach's Six Sonatas and Partitas, to which they are intended as a modern counterpart.Perhaps Szigeti's most fruitful musical partnership was with his friend Bela Bartok. The first piece Bartok dedicated to him was the First Rhapsody for violin and orchestra (or piano) of 1928; the rhapsody, based on both Romanian and Hungarian folk tunes, was one of a pair of violin rhapsodies written in 1928 (the other being dedicated to Zoltan Szekely.) In 1938, Szigeti and clarinetist Benny Goodman teamed up to commission a trio from Bartok: originally intended to be a short work just long enough to fill both sides of a 78 rpm record, the piece soon expanded beyond its modest intent and became the three-movement Contrasts for piano, violin and clarinet. In 1944, by which time Szigeti and Bartok had both fled to the United States to escape the war in Europe, Bartok's health was failing and he had sunk into depression. He was in dire need of money, but felt no inspiration to compose and was convinced that his works would...
A: Concerto for Orchestra

Q: What is the full name of the person who was captured by Sylvester? Answer the above question based on the context below: In a troop movement that took all night on a makeshift raft, the Texian army crossed Buffalo Bayou at Lynchburg April 19 with 930 soldiers, leaving behind 255 others as guards or for reasons of illness. The idea had been floated of leaving the Twin Sisters behind as protection, but Neill was adamant that the cannons be taken into the battle. In an April 20 skirmish the day before the main battle Neill was severely wounded, and George Hockley took command of the heavy artillery. Estimates of the Mexican army troop strength on the day of the main battle range from 1,250 to 1,500.The Texians attacked in the afternoon of April 21 while Santa Anna was still under the misconception that Houston was actually retreating. He had allowed his army time to relax and feed their horses, while he took a nap. When he was awakened by the attack, he immediately fled on horseback, but was later captured when Sergeant James Austin Sylvester found him hiding in the grass. Houston's own account was that the battle lasted "about eighteen minutes", before apprehending prisoners and confiscating armaments. When the Twin Sisters went up against the Mexican army's Golden Standard cannon, they performed so well that Hockley's unit was able to capture the Mexican cannon.The Yellowstone saw war service for the Republic one more time on May 7, when it transported Houston and his prisoner Santa Anna, along with the government Santa Anna tried to extinguish, to Galveston Island. From there, the government and Santa Anna traveled to Velasco for the signing of the treaties. Houston had suffered a serious wound during the battle, and on May 28 boarded the schooner Flora for medical treatment in New Orleans.Not until news of the victory at San Jacinto spread did the refugees return to their homesteads and businesses, or whatever was left after the destruction caused by both armies. Throughout Texas, possessions had been abandoned and later looted. Businesses, homes and farms were wiped out by the devastation of war. Often there was nothing left...
A: George Hockley

Q: What was conducted by Prosper Sainton? Answer the above question based on the context below: Temperley writes: "After 1855 [Bennett] was spurred by belated honours, and occasional commissions, to compose a respectable number of significant and substantial works, though it was too late to recapture his early self-confidence." Works from his later years included the cello Sonata Duo for Piatti; a pastoral cantata, The May Queen, Op. 39, for the opening of the Leeds Town Hall in 1858; an Ode (Op. 40) with words by Alfred, Lord Tennyson for the opening of the 1862 International Exhibition in London; an Installation Ode for Cambridge University (Op. 41) with words by Charles Kingsley, which included a lament for the late Prince Albert; a symphony in G minor (Op. 43); a sacred cantata,The Woman of Samaria for the Birmingham Triennial Music Festival of 1867; and finally a second Piano Sonata (The Maid of Orleans, Op. 46). Many of these works were composed during his summer holidays which were spent at Eastbourne. The Ode for the Exhibition was the cause of a further imbroglio with Costa, who although in charge of music for the Exhibition refused to conduct anything by Bennett. Eventually it was conducted by Prosper Sainton, between works by Meyerbeer and Daniel Auber also commissioned for the occasion. The affair leaked into the press, and Costa was widely condemned for his behaviour.In March 1856 Bennett, while still teaching at the RAM and Queen's College, was elected Professor of Music at the University of Cambridge. He modernised the system of awarding music degrees, instituting viva voce examinations and requiring candidates for doctorates to first take the degree of Bachelor of Music. Two years later on 8 June 1868 the newly formed (later Royal) College of Organists awarded him an Honorary Fellowship.In 1858 came yet another clash involving Costa, when the autocratic Earl of Westmorland, the original founder of the RAM, saw fit to arrange a subscription concert for the Academy to include a Mass of his own composition, to be conducted by Costa and using the orchestra and singers of the Opera, over the...
A:
The Ode for the Exhibition