Problem: Given the question: What is the last name of the person who sat next to Bernhard? Answer the above question based on the context below: While Raff was able to offer "practical suggestions [in orchestration] which were of great value to Liszt", there may have been "a basic misunderstanding" of the nature of their collaboration. Liszt wanted to learn more about instrumentation and acknowledged Raff's greater expertise in this area. Hence, he gave Raff piano sketches to orchestrate, just as he had done earlier with Conradi"so that he might rehearse them, reflect on them, and then, as his confidence in the orchestra grew, change them." Raff disagreed, having the impression that Liszt wanted him on equal terms as a full collaborator. While attending an 1850 rehearsal of Prometheus, he told Bernhard Cossmann, who sat next to him, "Listen to the instrumentation. It is by me."Raff continued making such claims about his role in Liszt's compositional process. Some of these accounts, published posthumously by Die Musik in 1902 and 1903, suggest that he was an equal collaborator with Liszt. Raff's assertions were supported by Joachim, who had been active in Weimar at approximately the same time as Raff. Walker writes that Joachim later recalled to Raff's widow "that he had seen Raff 'produce full orchestral scores from piano sketches.'" Joachim also told Raff's biographer Andreas Moser that "the E-flat-major Piano Concerto was orchestrated from beginning to end by Raff." Raff's and Joachim's statements effectively questioned the authorship of Liszt's orchestral music, especially the symphonic poems. This speculation was debased when composer and Liszt scholar Peter Raabe carefully compared all sketches then known of Liszt's orchestral works with the published versions of the same works. Raabe demonstrated that, regardless of the position with first drafts, or of how much assistance Liszt may have received from Raff or Conradi at that point, every note of the final versions represents Liszt's intentions.
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The answer is:
Raff
input question: What ship was damaged and still rescued someone after it was harmed? Answer the above question based on the context below: Dorian's lifeboat was the smallest of the ship's boats and, with 26 crew and 5 passengers on board, had only a few inches of freeboard. In worsening weather, Dorian improvised a rough sea anchor, which enabled the boat to ride the waves through the night and following day without being swamped. In the late afternoon of September 28 they sighted a distant sail, which proved to be the Canadian bark Huron, bound for Quebec. As they rowed towards their rescuer, they passed Peter McCabe, still clinging to the makeshift raft, the only one of its 72 occupants to have survived the night; he, too was taken on board Huron. McCabe later recalled that he thought he was within ten minutes of death when he was rescued.On the following day Huron encountered another sailing ship, the Lebanon, heading for New York. Dorian, the five passengers and twelve of the crew chose to transfer to Lebanon. The other crewmen, possibly anticipating a hostile reception in their home port, chose to remain with Huron and proceed to Quebec, where she arrived on October 13.The ordeal of Captain Luce, and others who survived on assorted wreckage, lasted for two days. Around noon on September 29, the sailing ship Cambria, out of Glasgow and heading for Quebec, spotted Francois Jassonet, the Vesta fisherman who had been rescued by the Arctic after the collision. In the following few hours, Cambria picked up nine more survivors; these included Luce and two companions, the only survivors of the eleven who had found refuge on the remains of the paddlebox. The last to be picked up by Cambria was James Smith, a businessman from Scotland, who had survived on a raft constructed from planking and a tin-lined wicker basket. He had seen at least one ship pass in the distance during his ordeal, and had almost given up hope when Cambria arrived. Once satisfied there were no further survivors in the area, Cambria continued its journey to Quebec. Luce spent much of the voyage preparing a report of the disaster, ready to wire to Edward Collins in New York...???
output answer: Arctic
Please answer this: What is the first name of the person who later spoke favourably of Thomson's loyalty? Answer the above question based on the context below: Upon returning to Toronto, Jackson published an article about his and Thomson's experience in the Park in the Toronto Sunday World, included in which were several illustrations. After this initial experience, Thomson and another colleague, William Broadhead, went on a two-month expedition, going up the Spanish River and into Mississagi Forest Reserve (today Mississagi Provincial Park). Thomson's transition from commercial art towards his own original style of painting became apparent around this time. Much of his artwork from this trip, mainly oil sketches and photographs, was lost during two canoe spills; the first was on Green Lake in a rain squall and the second in a series of rapids.In fall 1912, Albert Robson, Grip's art director, moved to the design firm Rous & Mann. A month after returning to Toronto, Thomson followed Robson and left Grip to join Rous & Mann too. They were soon joined by Varley, Carmichael and Lismer. Robson later spoke favourably of Thomson's loyalty, calling him "a most diligent, reliable and capable craftsman". Robson's success in attracting great talent was well understood. Employee Leonard Rossell believed that the key to Robson's success "was that the artists felt that he was interested in them personally and did all he could to further their progress. Those who worked there were all allowed time off to pursue their studies ... Tom Thomson, so far as I know, never took definite lessons from anyone, yet he progressed quicker than any of us. But what he did was probably of more advantage to him. He took several months off in the summer and spent them in Algonquin Park."
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Answer:
Albert