Question: Read the following paragraph and extract the answer for the question: What is the name of the person who sat next to Bernhard Cossmann while attending an 1850 rehearsal of Prometheus? 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.
Answer: Raff
[Q]: Read the following paragraph and extract the answer for the question: What three types of person could head a big Chalukya province? The Western Chalukya kingship was hereditary, passing to the king's brother if the king did not have a male heir. The administration was highly decentralised and feudatory clans such as the Alupas, the Hoysalas, the Kakatiya, the Seuna, the southern Kalachuri and others were allowed to rule their autonomous provinces, paying an annual tribute to the Chalukya emperor. Excavated inscriptions record titles such as Mahapradhana (Chief minister), Sandhivigrahika, and Dharmadhikari (chief justice). Some positions such as Tadeyadandanayaka (commander of reserve army) were specialised in function while all ministerial positions included the role of Dandanayaka (commander), showing that cabinet members were trained as army commanders as well as in general administrative skills.The kingdom was divided into provinces such as Banavasi-12000, Nolambavadi-32000, Gangavadi-96000, each name including the number of villages under its jurisdiction. The large provinces were divided into smaller provinces containing a lesser number of villages, as in Belavola-300. The big provinces were called Mandala and under them were Nadu further divided into Kampanas (groups of villages) and finally a Bada (village). A Mandala was under a member of the royal family, a trusted feudatory or a senior official. Tailapa II himself was in charge of Tardavadi province during the Rashtrakuta rule. Chiefs of Mandalas were transferable based on political developments. For example, an official named Bammanayya administered Banavasi-12000 under King Someshvara III but was later transferred to Halasige-12000. Women from the royal family also administered Nadus and Kampanas. Army commanders were titled Mahamandaleshwaras and those who headed a Nadu were entitled Nadugouvnda.The Western Chalukyas minted punch-marked gold pagodas with Kannada and Nagari legends which were large, thin gold coins with several varying punch marks on the obverse side. They usually carried multiple punches of symbols such as a stylised lion, Sri in Kannada, a spearhead, the...
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[A]: senior official
input: Please answer the following: Read the following paragraph and extract the answer for the question: What is the full name of the artist who's greatest hits album did the lead singer of the band that tried to "remain somewhat grungy" give to the man that added layers of guitars to songs? Recording sessions for the album began on October 31, 1988, at Downtown Recorders in Boston, Massachusetts, at the time a professional 24-track studio. 4AD allowed the Pixies a budget of $40,000, excluding producer's fees. This was a modest sum for a 1980s major label album; however, it quadrupled the amount spent on the band's previous album, Surfer Rosa. Along with Norton, two assistant recording engineers and two second assistants were assigned to the project. The sessions lasted three weeks, concluding on November 23, with "nearly a song a day" being recorded.Production and mixing began on November 28. The band relocated to Carriage House Studios, a residential studio in Stamford, Connecticut, to oversee production and record further tracks. Norton recruited Steve Haigler as mixing engineer, whom he had worked with at Fort Apache Studios. During production, Haigler and Norton added layers of guitars and vocals to songs, including overdubbed guitars on "Debaser" and double tracking vocals on "Wave of Mutilation". During the recordings, Norton advised Francis to alter several songs; a noted example being "There Goes My Gun" which was originally intended as a much faster Husker Du-style song. However, at Norton's advice, Francis slowed down the tempo.Norton's suggestions were not always welcome, and several instances of advice to add verses and increase track length contributed to the front man's building frustration. Eventually, Francis took Norton to a record store, where he handed him a copy of Buddy Holly's Greatest Hits, in which most of the songs are about two minutes long. He told Norton, "If it's good enough for Buddy Holly ..." In a Rolling Stone interview, Francis later recalled that "this record is him trying to make us, shall I say, commercial, and us trying to remain somewhat grungy". Production continued until December 12, 1988, with Norton and Haigler adding extra effects, including gated reverb to the mix. The master tapes were then sent for final post-production later that month.
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output:
Buddy Holly