Problem: What is the answer for the question: What is the last name of the person whom people had no reason to believe would not continue after his Seventh Symphony? from the following article ? Jean Sibelius's Symphony No. 8 was his final major compositional project, occupying him intermittently from the mid-1920s until around 1938, though he never published it. During this time Sibelius was at the peak of his fame, a national figure in his native Finland and a composer of international stature. A fair copy of at least the first movement was made, but how much of the Eighth Symphony was completed is unknown. Sibelius repeatedly refused to release it for performance, though he continued to assert that he was working on it even after he had, according to later reports from his family, burned the score and associated material, probably in 1945. Much of Sibelius's reputation, during his lifetime and subsequently, derived from his work as a symphonist. His Seventh Symphony of 1924 has been widely recognised as a landmark in the development of symphonic form, and at the time there was no reason to suppose that the flow of innovative orchestral works would not continue. However, after the symphonic poem Tapiola, completed in 1926, his output was confined to relatively minor pieces and revisions to earlier works. During the 1930s the Eighth Symphony's premiere was promised to Serge Koussevitzky and the Boston Symphony Orchestra on several occasions, but as each scheduled date approached Sibelius demurred, claiming that the work was not ready for performance. Similar promises made to the British conductor Basil Cameron and to the Finnish Georg Schneevoigt likewise proved illusory. It is thought that Sibelius's perfectionism and exalted reputation prevented him ever completing the symphony to his satisfaction; he wanted it to be even better than his Seventh. After Sibelius's death in 1957, news of the Eighth Symphony's destruction was made public, and it was assumed that the work had disappeared forever. But in the 1990s, when the composer's many notebooks and sketches were being catalogued, scholars first raised the possibility that fragments of the music for the lost symphony might have survived. Since...

A: Sibelius

Problem: What is the answer for the question: What is the title of the work that is "the most avant-garde of [Poulenc's] sacred compositions," according to Ralph Thibodeau? from the following article ? Apart from a single early work for unaccompanied choir ("Chanson a boire", 1922), Poulenc began writing choral music in 1936. In that year he produced three works for choir: Sept chansons (settings of verses by Eluard and others), Petites voix (for children's voices), and his religious work Litanies a la Vierge Noire, for female or children's voices and organ. The Mass in G major (1937) for unaccompanied choir is described by Gouverne as having something of a baroque style, with "vitality and joyful clamour on which his faith is writ large". Poulenc's new-found religious theme continued with Quatre motets pour un temps de penitence (193839), but among his most important choral works is the secular cantata Figure humaine (1943). Like the Mass, it is unaccompanied, and to succeed in performance it requires singers of the highest quality. Other a cappella works include the Quatre motets pour le temps de Noel (1952), which make severe demands on choirs' rhythmic precision and intonation.Poulenc's major works for choir and orchestra are the Stabat Mater (1950), the Gloria (195960), and Sept repons des tenebres (Seven responsories for Tenebrae, 196162). All these works are based on liturgical texts, originally set to Gregorian chant. In the Gloria, Poulenc's faith expresses itself in an exuberant, joyful way, with intervals of prayerful calm and mystic feeling, and an ending of serene tranquillity. Poulenc wrote to Bernac in 1962, "I have finished Les Tenebres. I think it is beautiful. With the Gloria and the Stabat Mater, I think I have three good religious works. May they spare me a few days in Purgatory, if I narrowly avoid going to hell." Sept repons des tenebres, which Poulenc did not live to hear performed, uses a large orchestra, but in Nichols's view it displays a new concentration of thought. To the critic Ralph Thibodeau, the work may be considered as Poulenc's own requiem and is "the most avant-garde of his sacred compositions, the most emotionally demanding, and the most interesting musically,...

A: Sept repons des tenebres

Problem: What is the answer for the question: What is the last name of the interviewer who incorrectly announced that the track that was in the closing credits of Paddington could be purchased on iTunes? from the following article ? Although a low-quality version leaked on December 31, 2014, a full version of the recording was not made available for the public. A limited quantity edition CD single was issued in January 2015, and sent to the Academy of Motion Picture Arts and Sciences as part of the submission process to be considered for the Academy Award for Best Original Song. The single was included in the list of 79 contenders for the award, but it did not receive a nomination.A lyric video was uploaded onto The Weinstein Company's YouTube channel on January 13, 2015. It was a minute and 35 seconds, and featured clips from the film. The video received over two million views in 24 hours. The video featured scenes from the film in which "the iconic Peruvian bear finds himself in all manner of mishaps while trying to find a home and ultimately working his way into our hearts". The visual was included on the DVD and Blu-ray releases of Paddington along with a behind-the-scenes feature on the making of the track. Matthew Jacobson of The Spectrum, a newspaper which is part of the USA Today Network, criticized the video for being "just clips of the movie set to a song" rather than a proper music video. Alternatively, Cinemablend.com's Jessica Rawden found the video to be "satsifying"."Shine" is featured in the American trailer and the closing credits for Paddington, but was not included in the British version of the film. Idolator's Christina Lee wrote that the track was an exclusive release for the United States and Canada. The song was excluded from the film's soundtrack album, as well as Stefani's third studio album This Is What the Truth Feels Like (2016). During an interview with Stefani and Williams on January 21, 2015, radio host Ryan Seacrest erroneously announced the track was available for purchase on the iTunes Store.

A:
Seacrest