[Q]: Found the following article online, use it to answer the question: What is the name of the person who had "extreme reservations" about accepting his first public commission for West Wind in 1928? At his home in Much Hadham, Moore built up a collection of natural objects; skulls, driftwood, pebbles, rocks and shells, which he would use to provide inspiration for organic forms. For his largest works, he usually produced a half-scale, working model before scaling up for the final moulding and casting at a bronze foundry. Moore often refined the final full plaster shape and added surface marks before casting. Moore produced at least three significant examples of architectural sculpture during his career. In 1928, despite his own self-described "extreme reservations", he accepted his first public commission for West Wind for the London Underground Building at 55 Broadway in London, joining the company of Jacob Epstein and Eric Gill. In 1953, he completed a four-part concrete screen for the Time-Life Building in New Bond Street, London, and in 1955 Moore turned to his first and only work in carved brick, "Wall Relief" at the Bouwcentrum in Rotterdam. The brick relief was sculpted with 16,000 bricks by two Dutch bricklayers under Moore's supervision. The aftermath of World War II, The Holocaust, and the age of the atomic bomb instilled in the sculpture of the mid-1940s a sense that art should return to its pre-cultural and pre-rational origins. In the literature of the day, writers such as Jean-Paul Sartre advocated a similar reductive philosophy. At an introductory speech in New York City for an exhibition of one of the finest modernist sculptors, Alberto Giacometti, Sartre spoke of "The beginning and the end of history". Moore's sense of England emerging undefeated from siege led to his focus on pieces characterised by endurance and continuity.
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[A]: Moore

[Q]: Found the following article online, use it to answer the question: What is the name of the person who went into some detail about Rimsky-Korsakov's epiphany and turnaround regarding musical training, as well as his efforts to remedy this situation for himself? The Five was among the myriad of subjects Tchaikovsky discussed with his benefactress, Nadezhda von Meck. By January 1878, when he wrote to Mrs. von Meck about its members, he had drifted far from their musical world and ideals. In addition, The Five's finest days had long passed. Despite considerable effort in writing operas and songs, Cui had become better known as a critic than as a composer, and even his critical efforts competed for time with his career as an army engineer and expert in the science of fortification. Balakirev had withdrawn completely from the musical scene, Mussorgsky was sinking ever deeper into alcoholism, and Borodin's creative activities increasingly took a back seat to his official duties as a professor of chemistry. Only Rimsky-Korsakov actively pursued a full-time musical career, and he was under increasing fire from his fellow nationalists for much the same reason as Tchaikovsky had been. Like Tchaikovsky, Rimsky-Korsakov had found that, for his own artistic growth to continue unabated, he had to study and master Western classical forms and techniques. Borodin called it "apostasy", adding, "Many are grieved at present by the fact that Korsakov has turned back, has thrown himself into a study of musical antiquity. I do not bemoan it. It is understandable...." Mussorgsky was harsher: "[T]he mighty kuchka had degenerated into soulless traitors."Tchaikovsky's analysis of each of The Five was unsparing. While at least some of his observations may seem distorted and prejudiced, he also mentions some details which ring clear and true. His diagnosis of Rimsky-Korsakov's creative crisis is very accurate. He also calls Mussorgsky the most gifted musically of the Five, though Tchaikovsky could not appreciate the forms Mussorgsky's originality took. Nonetheless, he badly underestimates Borodin's technique and gives Balakirev far less than his full dueall the more telling in light of Balakirev's help in conceiving and shaping Romeo and Juliet.Tchaikovsky wrote to Nadezhda von Meck that all...
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[A]: Tchaikovsky

[Q]: Found the following article online, use it to answer the question: What is the first name of the person who visits Spencer in the hospital? Spencer Armacost is an astronaut working for NASA, and his wife Jillian is a second-grade elementary school teacher. While he and Alex Streck are walking in space on a mission there is an explosion that knocks out their communication with the command center. They land but when their spouses arrive to see them they are in the hospital; both asleep until they recover. Armacost eventually wakes up without problems, but Streck has a medical emergency requiring him to have an electrical cardioversion. Neither speak about the in-flight emergency. Armacost accepts a position with a New York-based company, McClaren. At a farewell party, Streck's aggressive behavior catches Jillian's attention before he suddenly dies from what NASA attributes to a stroke. At the Streck house Natalie Streck electrocutes herself in the bath with a radio. In New York at a party, Jillian asks Spencer to tell her about the space walk incident. He answers while he starts to make love to her. At home he makes aggressive love to her. In the background is a crackling radio noise. She finds out she is pregnant, and at an ultrasound discovers she is having twins. She tells the doctor that earlier in her life, after her parents died, she sought psychiatric care because she started to see her loved ones dead, including herself.
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[A]:
Jillian