Question: This article: On 22 December a public memorial service took place for Tucker, Bentley and Choate at St Paul's Cathedral. King George V was represented by Edward Wallington, his Groom in Waiting; also present were Churchill and the Lord Mayor of London. The crime had shocked Londoners and the service showed evidence of their feelings. An estimated ten thousand people waited in St Paul's environs, and many local businesses closed as a mark of respect; the nearby London Stock Exchange ceased trading for half an hour to allow traders and staff to watch the procession along Threadneedle Street. After the service, when the coffins were being transported on an eight-mile (13 km) journey to the cemeteries, it was estimated that 750,000 people lined the route, many throwing flowers onto the hearses as they passed.Identity parades were held at Bishopsgate police station on 23 December. Isaac Levy, who had seen the group leaving Exchange Buildings, identified Peters and Dubof as the two he had seen carrying Gardstein. It was also ascertained that Federoff had been witnessed at the events. The following day Federoff, Peters and Dubof all appeared at the Guildhall police court where they were charged with being connected to the murder of the three policemen, and with conspiracy to burgle the jewellery shop. All three pleaded not guilty.On 27 December the poster bearing Gardstein's picture was seen by his landlord, who alerted police. Wensley and his colleagues visited the lodgings on Gold Street, Stepney and found knives, a gun, ammunition, false passports and revolutionary publications. Two days later there was another hearing at the Guildhall police court. In addition to Federoff, Peters and Dubof, present in the dock were Milstein and Trassjonsky. With some of the defendants having a low standard of English, interpreters were used throughout the proceedings. At the end of the day the case was adjourned until 6 January 1911.On New Year's Day 1911 the body of Leon Beron, a Russian Jewish immigrant, was found on Clapham Common in South... contains an answer for the question: What is the name of the person that had an apartment on Gold Street?, what is it ?
Answer: Gardstein

[Q]: This article: Released in September 1980, Never for Ever saw Bush's second foray into production, co-producing with Jon Kelly. Her first experience as a producer was on her Live on Stage EP, released after her tour the previous year. The first two albums had resulted in a definitive sound evident in every track, with orchestral arrangements supporting the live band sound. The range of styles on Never for Ever is much more diverse, veering from the straightforward rocker "Violin" to the wistful waltz of hit single "Army Dreamers". Never for Ever was her first album to feature synthesisers and drum machines, in particular the Fairlight CMI, to which she was introduced when providing backing vocals on Peter Gabriel's eponymous third album in early 1980. It was her first record to reach the top position in the UK album charts, also making her the first female British artist to achieve that status, and the first female artist ever to enter the album chart at the top. The top-selling single from the album was "Babooshka", which reached number five in the UK singles chart. In November 1980, she released the standalone Christmas single "December Will Be Magic Again", which reached number 29 in the UK charts. September 1982 saw the release of The Dreaming, the first album Bush produced by herself. With her new-found freedom, she experimented with production techniques, creating an album that features a diverse blend of musical styles and is known for its near-exhaustive use of the Fairlight CMI. The Dreaming received a mixed reception in the UK, and critics were baffled by the dense soundscapes Bush had created to become "less accessible". In a 1993 interview with Q (magazine), Bush stated: "That was my 'She's gone mad' album." However, the album became her first to enter the US Billboard 200 chart, albeit only reaching number 157. The album entered the UK album chart at number-three, but is to date her lowest-selling album, garnering only a silver disc."Sat in Your Lap" was the first single from the album to be released. It... contains an answer for the question: What is the name of the album that Bush claims is her "She's gone mad' album."?, what is it ?
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[A]: The Dreaming

input: Please answer the following: This article: Handel's music for Messiah is distinguished from most of his other oratorios by an orchestral restrainta quality which the musicologist Percy M. Young observes was not adopted by Mozart and other later arrangers of the music. The work begins quietly, with instrumental and solo movements preceding the first appearance of the chorus, whose entry in the low alto register is muted. A particular aspect of Handel's restraint is his limited use of trumpets throughout the work. After their introduction in the Part I chorus "Glory to God", apart from the solo in "The trumpet shall sound" they are heard only in "Hallelujah" and the final chorus "Worthy is the Lamb". It is this rarity, says Young, that makes these brass interpolations particularly effective: "Increase them and the thrill is diminished". In "Glory to God", Handel marked the entry of the trumpets as da lontano e un poco piano, meaning "quietly, from afar"; his original intention had been to place the brass offstage (in disparte) at this point, to highlight the effect of distance. In this initial appearance the trumpets lack the expected drum accompaniment, "a deliberate withholding of effect, leaving something in reserve for Parts II and III" according to Luckett.Although Messiah is not in any particular key, Handel's tonal scheme has been summarised by the musicologist Anthony Hicks as "an aspiration towards D major", the key musically associated with light and glory. As the oratorio moves forward with various shifts in key to reflect changes in mood, D major emerges at significant points, primarily the "trumpet" movements with their uplifting messages. It is the key in which the work reaches its triumphant ending. In the absence of a predominant key, other integrating elements have been proposed. For example, the musicologist Rudolf Steglich has suggested that Handel used the device of the "ascending fourth" as a unifying motif; this device most noticeably occurs in the first two notes of "I know that my Redeemer liveth" and on numerous other... contains an answer for the question: What is the precise instrument after whose introduction in the Part 1 chorus, apart from the solo in "The trumpet shall sound," they are heard only in "Hallelujah" and the final chorus?, what is it ?
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output:
trumpets