Question: The following article contains an answer for the question: What is the full name of the man that the junior counsel opposes in the trial? , can you please find it? Just-married taxi driver Thomas Leslie 'Tom' Manning is led to an abandoned bomb-site by an eight-year-old girl who says that she has lost her dog. The kind-hearted Manning gives her his handkerchief to dry her tears. She then runs off taunting Manning as an April-fool prank. He stumbles and raises a fist at her and this is witnessed by Mrs Zunz. The girl is later found murdered on the bomb site, strangled as she sang 'Oranges and Lemons' while feeding the ducks. Manning is picked up by Scotland Yard for questioning and is later arrested and charged with murder, with circumstantial evidence including his handkerchief (found under the body of the girl), a fibre from his coat under the dead girl's fingernail and the testimony of Mrs Zunz. A wartime pilot who suffered a head-wound, even Manning himself started to doubt his mind, and wondered if he had suffered from a "blackout"?Manning's wife, Jill, convinced he is innocent, contacts lawyers, but the defending barrister refuses to see her and her imprisoned husband, because he wants to preserve an "objective view" on the case. She later wins the sympathy of the junior counsel Peter Tanner, who visits Manning in prison, believes in his protestation of innocence and makes the case his own. The trial begins at London's Old Bailey, where Tanner is opposed by his father, prosecuting counsel Geoffrey Tanner. The trial is presided over by Justice Harrington, whose wife is in the hospital undergoing a serious operation. It soon becomes evident that things are going badly for Manning. Jurors are seen expressing their belief in Manning's guilt even before the trial was over. Irene's mother gave hearsay evidence that Manning had given the victim sweets, breaking down in tears and accusing Manning of murder. Following the testimony of prosecution-witness Horace Clifford, all of the evidence seems to point to Manning's guilt.
Answer: Geoffrey Tanner

Question: The following article contains an answer for the question: What is the last name of the painter who died in 1528? , can you please find it? After the painter's death in 1528, the portraits were held by his brother, and then his brother's widow before they passed into the collection of Willibald Imhoff, a grandson of Durer's friend Willibald Pirckheimer. Inventories from the Imhoff collection from 157374, 1580 and 1588 list both panels. The next surviving Imhoff inventory, of 1628, again lists the mother's portrait, but it disappears after mention in the 163358 account books of Hans Hieronymus Imhoff, after which its whereabouts became unknown. Durer expert Matthias Mende described the missing portrait of Barbara Holper as "among the most severe losses in the Durer oeuvre". In 1977, art historian Lotte Brand Philip proposed that Unknown Woman in a Coif, held by the Germanisches Nationalmuseum in Nuremberg, was the original portrait of Barbara Holper. The Nuremberg panel was previously thought to have originated from a member of Wolgemut's workshop, a Franconian artist in his circle, or the anonymous Mainz painter Master W. B. Brand Philip's attribution was based on striking similarities in composition and its shared tone, theme and size with the father panel at the Uffizi. In both works the sitters are holding rosary beads, and Durer attentively describes their hands. Both portraits show the sitter in the same pose, against a similarly coloured background. Both are lit from the upper left. The boards are identically cut in width and depth, although 3 cm was removed from the left edge of Barbara's panel. Brand Philip noted the similarities between the panel and Durer's 1514 charcoal drawing Portrait of the Artist's Mother at the Age of 63. Fedja Anzelewsky agreed with the attribution, noting that both portraits bear, on their reverse, the catalogue number recorded in the Imhoff inventories, as well as "precisely the same design of masses of dark clouds".Anzelewsky speculated that the father's portrait, which was not listed in the 1628 Imhoff inventory, had been broken off and sold to Rudolph II of Austria. Hans Hieronymus Imhoff's lukewarm...
Answer: Durer

Question: The following article contains an answer for the question: What was the last name of the critic who was unconvinced that the piece that was performed in Cleveland in 1977 was "...important music."? , can you please find it? In May 1962 A Child of Our Time received its Israel premiere in Tel Aviv. Tippett says that this performance was delayed because for a while there were local objections to the word "Jesus" in the text. When it came about, among the audience was Herschel Grynszpan's father who, Tippett wrote, was "manifestly touched by the work his son's precipitate action 25 years earlier had inspired." The performance, by the Kol Yisrael Orchestra with the Tel Aviv Chamber Choir, was acclaimed by the audience of 3000, but received mixed reviews from the press. The Times report noted contrasting opinions from two leading Israeli newspapers. The correspondent for Haaretz had expressed disappointment: "Every tone is unoriginal, and the work repeats old effects in a most conventional manner". Conversely, according to the Times report, HaBoker's critic had "found that the composition had moved everyone to the depths of his soul ... no Jewish composer had ever written anything so sublime on the theme of the Holocaust."Despite its successes in Europe A Child of Our Time did not reach the United States until 1965, when it was performed during the Aspen Music Festival, with the composer present. In his memoirs Tippett mentions another performance on that American tour, at a women's college in Baltimore, in which the male chorus and soloists were black Catholic ordinands from a local seminary. The first significant American presentations of the work came a decade later: at Cleveland in 1977 where Prince Charles, who was visiting, delayed his departure so that he could attend, and at Carnegie Hall, New York, where Colin Davis conducted the Boston Symphony Orchestra and the Tanglewood Festival Chorus. Reviewing this performance for The New York Times, Donal Henahan was unconvinced that the work's "sincerity and unimpeachable intentions add[ed] up to important music". The spirituals were sung with passion and fervour, but the rest was "reminiscent of a familiar pious sermon" in which the words were only intermittently intelligible....
Answer:
Henahan