input: Please answer the following: Read the following paragraph and extract the answer for the question: What is the first name of the person who managed several breweries? Bedrich Smetana, first named Friedrich Smetana, was born on 2 March 1824, in Litomysl (German: Leitomischl), east of Prague near the traditional border between Bohemia and Moravia, then provinces of the Habsburg Empire. He was the third child, and first son, of Frantisek Smetana and his third wife Barbora Lynkova. Frantisek had fathered eight children in two earlier marriages, five daughters surviving infancy; he and Barbora had ten more children, of whom seven reached adulthood. At this time, under Habsburg rule, German was the official language of Bohemia. Frantisek knew Czech but, for business and social reasons, rarely used it; and his children were ignorant of correct Czech until much later in their lives. The Smetana family came from the Hradec Kralove (German: Koniggratz) region of Bohemia. Frantisek had initially learned the trade of a brewer, and had acquired moderate wealth during the Napoleonic Wars by supplying clothing and provisions to the French Army. He subsequently managed several breweries before coming to Litomysl in 1823 as brewer to Count Waldstein, whose Renaissance castle dominates the town.The elder Smetana, although uneducated, had a natural gift for music and played in a string quartet. Bedrich was introduced to music by his father and in October 1830, at the age of six, gave his first public performance. At a concert held in Litomysl's Philosophical Academy he played a piano arrangement of Auber's overture to La muette de Portici, to a rapturous reception. In 1831 the family moved to Jindrichuv Hradec in the south of Bohemiathe region where, a generation later, Gustav Mahler grew up. Here, Smetana attended the local elementary school and later the gymnasium. He also studied violin and piano, discovering the works of Mozart and Beethoven, and began composing simple pieces, of which one, a dance (Kvapicek, or "Little Galop"), survives in sketch form.In 1835, Frantisek retired to a farm in the south-eastern region of Bohemia. There being no suitable local school, Smetana was sent to...
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output: Frantisek

input: Please answer the following: Read the following paragraph and extract the answer for the question: What group was depicted as a fictional band on one of their album covers? Sgt. Pepper was the first major pop/rock LP to include its complete lyrics, which appeared on the back cover. Those lyrics were the subject of critical analysis; for instance, in late 1967 the album was the subject of a scholarly inquiry by American literary critic and professor of English Richard Poirier, who observed that his students were "listening to the group's music with a degree of engagement that he, as a teacher of literature, could only envy". Poirier identified what he termed its "mixed allusiveness": "It's unwise ever to assume that they're doing only one thing or expressing themselves in only one style ... one kind of feeling about a subject isn't enough ... any single induced feeling must often exist within the context of seemingly contradictory alternatives." McCartney said at the time: "We write songs. We know what we mean by them. But in a week someone else says something about it, and you can't deny it. ... You put your own meaning at your own level to our songs." The album's elaborate cover also attracted considerable interest and study. A collage designed by pop artists Peter Blake and Jann Haworth, it depicted the group as the fictional band referred to in the album's title track standing in front of a crowd of famous people. The heavy moustaches worn by the group reflected the growing influence of hippie style, while cultural historian Jonathan Harris describes their "brightly coloured parodies of military uniforms" as a knowingly "anti-authoritarian and anti-establishment" display. In 2003, Rolling Stone ranked it number one on its list of the "500 Greatest Albums of All Time". On 25 June 1967, the Beatles performed their forthcoming single, "All You Need Is Love", to an estimated 350 million viewers on Our World, the first live global television link. Released a week later, during the Summer of Love, the song was adopted as a flower power anthem. Two months later, the group suffered a loss that threw their career into turmoil. Having been introduced to Maharishi Mahesh Yogi only the...
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output: the Beatles

input: Please answer the following: Read the following paragraph and extract the answer for the question: What is the full name of the person, who using a German text, included some period instrumentation? After the publication of the L'Orfeo score in 1609, the same publisher (Ricciardo Amadino of Venice) brought it out again in 1615. Facsimiles of these editions were printed in 1927 and 1972 respectively. Since Eitner's first "modern" edition of L'Orfeo in 1884, and d'Indy's performing edition 20 years laterboth of which were abridged and adapted versions of the 1609 scorethere have been many attempts to edit and present the work, not all of them published. Most of the editions that followed d'Indy up to the time of the Second World War were arrangements, usually heavily truncated, that provided a basis for performances in the modern opera idiom. Many of these were the work of composers, including Carl Orff (1923 and 1939) and Ottorino Respighi in 1935. Orff's 1923 score, using a German text, included some period instrumentation, an experiment he abandoned when producing his later version.In the post-war period, editions have moved increasingly to reflect the performance conventions of Monteverdi's day. This tendency was initiated by two earlier editions, that of Jack Westrup used in the 1925 Oxford performances, and Gian Francesco Malipiero's 1930 complete edition which sticks closely to Monteverdi's 1609 original. After the war, Hindemith's attempted period reconstruction of the work was followed in 1955 by an edition from August Wenzinger that remained in use for many years. The next 30 years saw numerous editions, mostly prepared by scholar-performers rather than by composers, generally aiming towards authenticity if not always the complete re-creation of the original instrumentation. These included versions by Raymond Leppard (1965), Denis Stevens (1967), Nikolaus Harnoncourt (1969), Jane Glover (1975), Roger Norrington (1976) and John Eliot Gardiner. Only the composers Valentino Bucchi (1967), Bruno Maderna (1967) and Luciano Berio (1984) produced editions based on the convention of a large modern orchestra. In the 21st century editions continue to be produced, often for use in conjunction with a...
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output:
Carl Orff