Question: Found the following article online, use it to answer the question: Who heard someone's Faust Symphony and Die Ideale? Dissatisfied with his first large-scale orchestral work, the D major Overture of 1848, Smetana studied passages from Beethoven, Mendelssohn, Weber and Berlioz before producing his Triumphal Symphony of 1853. Though this is dismissed by Rosa Newmarch as "an epithalamium for a Habsburg Prince", Smetana's biographer Brian Large identifies much in the piece that characterises the composer's more mature works. Despite the symphony's rejection by the Court and the lukewarm reception on its premiere, Smetana did not abandon the work. It was well received in Gothenburg in 1860, and a revised version was performed in Prague in 1882, without the "triumphal" tag, under Adolf Cech. The piece is now sometimes called the Festive Symphony. Smetana's visit to Liszt at Weimar in the summer of 1857, where he heard the latter's Faust Symphony and Die Ideale, caused a material reorientation of Smetana's orchestral music. These works gave Smetana answers to many compositional problems relating to the structure of orchestral music, and suggested a means for expressing literary subjects by a synthesis between music and text, rather than by simple musical illustration. These insights enabled Smetana to write the three Gothenburg symphonic poems, (Richard III, Wallenstein's Camp and Hakon Jarl), works that transformed Smetana from a composer primarily of salon pieces to a modern neo-Romantic, capable of handling large-scale forces and demonstrating the latest musical concepts. From 1862 Smetana was largely occupied with opera and, apart from a few short pieces, did not return to purely orchestral music before beginning Ma vlast in 1872. In his introduction to the Collected Edition Score, Frantisek Bartol brackets Ma vlast with the opera Libuse as "direct symbols of [the] consummating national struggle". Ma vlast is the first of Smetana's mature large-scale works that is independent of words, and its musical ideas are bolder than anything he had tried before. To musicologist John Clapham, the cycle presents "a cross-section of Czech...
Answer: Smetana

Question: Found the following article online, use it to answer the question: What is the name of the album whose title track is ten minutes long? According to Rolling Stone, Marquee Moon is a post-punk album, while Jason Heller from The A.V. Club described it as "elegantly jagged" art punk. Robert Christgau regarded it as more of a rock record because of Television's formal and technical abilities as musicians: "It wasn't punk. Its intensity wasn't manic; it didn't come in spurts." Both sides of the album begin with three shorter, hook-driven songs, which Stylus Magazine's Evan Chakroff said veer between progressive rock and post-punk styles. The title track and "Torn Curtain" are longer and more jam-oriented. "As peculiar as it sounds, I've always thought that we were a pop band", Verlaine later told Select. "You know, I always thought Marquee Moon was a bunch of cool singles. And then I'd realise, Christ, [the title track] is ten minutes long. With two guitar solos." As Tom Moon observed, Verlaine's singing avoids the "cursory punk snarl" while the band's music demonstrates "extended instrumental sections, impenetrable moods" (as on "Torn Curtain") and historical rock influences like Chuck Berry and the early music of the Rolling Stones (as on "Friction").Verlaine and Lloyd's guitar parts on the album are interplayed around the rhythm section's drum hits and basslines. Their dual playing draws on 1960s rock and avant-garde jazz styles, abandoning the layered power chords of contemporary punk rock in favor of melodic lines and counter-melodies. Verlaine's guitar establishes the song's rhythmic phrase, against which Lloyd is heard playing dissonant melodies. Lloyd had learned to notate his solos by the time they recorded Marquee Moon, allowing him to develop his solo for a song from introduction to variation and resolution. Some songs have the two guitarists trading rhythmic and melodic lines several times while producing tension. "There weren't many bands where the two guitars played rhythm and melody back and forth, like a jigsaw puzzle", Lloyd said.Most of the solos on Marquee Moon follow a pattern wherein Verlaine runs up a major scale but...
Answer: Marquee Moon

Question: Found the following article online, use it to answer the question: What was the full name of the photographer that took a photo that later was used for Fred Shuttlesworth's biography? A battle-hardened Huntley-Brinkley reporter later said that no military action he had witnessed had ever frightened or disturbed him as much as what he saw in Birmingham. Two out-of-town photographers in Birmingham that day were Charles Moore, who had previously worked with the Montgomery Advertiser and was now working for Life magazine, and Bill Hudson, with the Associated Press. Moore was a Marine combat photographer who was "jarred" and "sickened" by the use of children and what the Birmingham police and fire departments did to them. Moore was hit in the ankle by a brick meant for the police. He took several photos that were printed in Life. The first photo Moore shot that day showed three teenagers being hit by a water jet from a high-pressure firehose. It was titled "They Fight a Fire That Won't Go Out". A shorter version of the caption was later used as the title for Fred Shuttlesworth's biography. The Life photo became an "era-defining picture" and was compared to the photo of Marines raising the U.S. flag on Iwo Jima. Moore suspected that the film he shot "was likely to obliterate in the national psyche any notion of a 'good southerner'." Hudson remarked later that his only priorities that day were "making pictures and staying alive" and "not getting bit by a dog."Right in front of Hudson stepped Parker High School senior Walter Gadsden when a police officer grabbed the young man's sweater and a police dog charged him. Gadsden had been attending the demonstration as an observer. He was related to the editor of Birmingham's black newspaper, The Birmingham World, who strongly disapproved of King's leadership in the campaign. Gadsden was arrested for "parading without a permit", and after witnessing his arrest, Commissioner Connor remarked to the officer, "Why didn't you bring a meaner dog; this one is not the vicious one." Hudson's photo of Gadsden and the dog ran across three columns in the prominent position above the fold on the front page of The New York Times on May 4, 1963.
Answer:
Charles Moore