input question: The following article contains an answer for the question: What is the first name of the person who was composing little pieces when he was five years old? , can you please find it? The Mozart children were not alone as 18th-century music prodigies. Education writer Gary Spruce refers to hundreds of similar cases, and cites that of William Crotch of Norwich who in 1778, at the age of three, was giving organ recitals. British scholar Jane O'Connor explains the 18th century fascination with prodigies as "the realisation of the potential entertainment and fiscal value of an individual child who was in some way extraordinary". Other childhood contemporaries of Mozart included the violinist and composer Thomas Linley, born the same year as Wolfgang, and the organist prodigy Joseph Siegmund Bachmann. Mozart eventually became recognised among prodigies as the future standard for early success and promise.Of seven children born to Leopold and Anna Maria Mozart, only the fourth, Maria Anna (Nannerl), born 31 July 1751, and the youngest, Wolfgang Amadeus, born 27 January 1756, survived infancy. The children were educated at home, under Leopold's guidance, learning basic skills in reading, writing, drawing and arithmetic, together with some history and geography. Their musical education was aided by exposure to the constant rehearsing and playing of Leopold and his fellow musicians. When Nannerl was seven her father began to teach her to play the harpsichord, with Wolfgang looking on; according to Nannerl's own account "the boy immediately showed his extraordinary, God-given talent. He often spent long periods at the clavier, picking out thirds, and his pleasure showed that they sounded good to him... When he was five years old he was composing little pieces which he would play to his father who would write them down". A family friend, the poet Johann Andreas Schachtner, recounted that at the age of four Wolfgang began to compose a recognisable piano concerto, and was able to demonstrate a phenomenal sense of pitch.???
output answer: Wolfgang
The following article contains an answer for the question: What was the full name of the person who chided Budge and Ullendorff for their postulation that the Aksumite civilization was founded by Semitic immigrants from South Arabia? , can you please find it? Ethiopian historians such as Taddesse Tamrat (19352013) and Sergew Hable Sellassie have argued that modern Ethiopian studies were an invention of the 17th century and originated in Europe. Tamrat considered Carlo Conti Rossini's 1928 Storia d'Etiopia a groundbreaking work in Ethiopian studies. The philosopher Messay Kebede likewise acknowledged the genuine contributions of Western scholars to the understanding of Ethiopia's past. But he also criticized the perceived scientific and institutional bias that he found to be pervasive in Ethiopian-, African-, and Western-made historiographies on Ethiopia. Specifically, Kebede took umbrage at E. A. Wallis Budge's translation of the Kebra Nagast, arguing that Budge had assigned a South Arabian origin to the Queen of Sheba although the Kebra Nagast itself did not indicate such a provenience for this fabled ruler. According to Kebede, a South Arabian extraction was contradicted by biblical exegetes and testimonies from ancient historians, which instead indicated that the Queen was of African origin. Additionally, he chided Budge and Ullendorff for their postulation that the Aksumite civilization was founded by Semitic immigrants from South Arabia. Kebede argued that there is little physical difference between the Semitic-speaking populations in Ethiopia and neighboring Cushitic-speaking groups to validate the notion that the former groups were essentially descendants of South Arabian settlers, with a separate ancestral origin from other local Afroasiatic-speaking populations. He also observed that these Afroasiatic-speaking populations were heterogeneous, having interbred with each other and also assimilated alien elements of both uncertain extraction and negroid origin.
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Answer: Messay Kebede
Q: The following article contains an answer for the question: What was the last name of the person who wrote in The Observer and disliked the college's design? , can you please find it? Writing in 1952, after the first section of the buildings was complete, J. M. Richards, the editor of the Architectural Review, said that Nuffield was "a large-scale example of period-style architecture which has no justification whatever on grounds of consideration for the neighbours and represents missed opportunity of a really tragic kind". As the site was away from the "ancient colleges" of the city centre and in an area of "undistinguished nineteenth century commercial building", there had been a "rare opportunity" of building something "belonging ... to the twentieth century, and of showing that Oxford does not live only in the past". He said that the "compromise between contemporary needs and what is imagined to be the English collegiate tradition is quite unworthy of the educational enterprise the new foundation represents". He was, however, "thankful" that the building used smooth-faced stone "in the proper Oxford style" rather than rubble facing, which he said had been used elsewhere in Oxford "with extraordinarily unpleasing results".The architectural correspondent of The Times wrote that the architecture of the college was incongruous it was "remarkable" that a college with connections to modern industry should be looking backwards in this way. "That a college devoted to modern scientific studies should be dressed up [in the style of an antique Cotswold manor house] has already been the subject of puzzled comment by many foreign visitors to Oxford." Writing in The Observer, Patience Gray also disliked the college's design, referring to the "Cotswold dementia" of the architecture, and the college's "pokey windows and grotesque sugarloaf tower." The chapel was described by the travel writer Jan Morris as "one of the sweetest little sanctuaries in Oxford"; "very simple, almost stern" with a contrast between the black and white pews and the "rich colour" of the stained glass. However, she said that whilst Oxford colleges change in style over time as buildings are added or altered, "Nuffield was a...
A: Gray
Problem: Given the question: The following article contains an answer for the question: What is the first name of the person who destroyed what was supposed to be a gift for Churchill? , can you please find it? The bottom section of Tilden's "promontory" extension, the dining room contains the original suite of table and dining chairs designed by Heal's to Churchill's exacting requirements (see box). An early study for a planned picture by William Nicholson entitled Breakfast at Chartwell hangs in the room. Nicholson, a frequent visitor to Chartwell who gave Churchill painting lessons, drew the study for a finished picture which was intended as a present for the Churchills' Silver Wedding anniversary in 1933 but, disliking the final version, Nicholson destroyed it. The picture depicts the Churchills breakfasting together, which in fact they rarely did, and Churchill's marmalade cat, Tango. The tradition of keeping a marmalade cat at Chartwell, which Churchill began and followed throughout his ownership, is maintained by the National Trust in accordance with Churchill's wishes. In a letter to Randolph written in May 1942, Churchill wrote of a brief visit to Chartwell the previous week, "the goose and the black swan have both fallen victim to the fox. The Yellow Cat however made me sensible of his continuing friendship, although I had not been there for eight months".Above the dining room is the drawing room and, above that, Lady Churchill's bedroom, described by Churchill as "a magnificent aerial bower".
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The answer is:
William