Question: Anton Friedrich Wilhelm (von) Webern (German: ['anton 've:ban] ( listen); 3 December 1883 - 15 September 1945) was an Austrian composer and conductor. Along with his mentor Arnold Schoenberg and his colleague Alban Berg, Webern was in the core of those in the circle of the Second Viennese School, including Ernst Krenek and Theodor W. Adorno. As an exponent of atonality and twelve-tone technique, Webern exerted influence on contemporaries Luigi Dallapiccola, Krenek, and even Schoenberg himself.

Webern published little of his early work in particular; like Brahms, though perhaps for not entirely the same reasons, Webern was characteristically meticulous and revised extensively. Many juvenilia remained unknown until the work and findings of the Moldenhauers in the 1960s, effectively obscuring and undermining formative facets of Webern's musical identity, highly significant even more so in the case of an innovator whose music was crucially marked by rapid stylistic shifts. Thus when Boulez first oversaw a project to record "all" of Webern's music, not including the juvenilia, the results fit on three rather than six CDs. Webern's earliest works consist primarily of lieder, the genre that most belies his roots in Romanticism, specifically German Romanticism; one in which the music yields brief but explicit, potent, and spoken meaning manifested only latently or programmatically in purely instrumental genres; one marked by significant intimacy and lyricism; and one which often associates nature, especially landscapes, with themes of homesickness, solace, wistful yearning, distance, utopia, and belonging. Robert Schumann's "Mondnacht" is an iconic example; Eichendorff, whose lyric poetry inspired it, is not far removed from the poets (e.g., Richard Dehmel, Gustav Falke, Theodor Storm) whose work inspired Webern and his contemporaries Alban Berg, Max Reger, Arnold Schoenberg, Richard Strauss, Hugo Wolf, and Alexander Zemlinsky. Wolf's Morike-Lieder were especially influential on Webern's efforts from this period. But well beyond these lieder alone, all of Webern's music may be said to possess such concerns and qualities, as is evident from his sketches, albeit in an increasingly symbolic, abstract, spare, introverted, and idealized manner. Other works include the orchestral tone poem Im Sommerwind (1904) and the Langsamer Satz (1905) for string quartet. Webern's first piece after completing his studies with Schoenberg was the Passacaglia for orchestra (1908). Harmonically, it is a step forward into a more advanced language, and the orchestration is somewhat more distinctive than his earlier orchestral work. However, it bears little relation to the fully mature works he is best known for today. One element that is typical is the form itself: the passacaglia is a form which dates back to the 17th century, and a distinguishing feature of Webern's later work was to be the use of traditional compositional techniques (especially canons) and forms (the Symphony, the Concerto, the String Trio, and String Quartet, and the piano and orchestral Variations) in a modern harmonic and melodic language.

Using a quote from the above article, answer the following question: What genre did he play?
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Answer: Other works include the orchestral tone poem Im Sommerwind (1904) and the Langsamer Satz (1905) for string quartet.

Problem: Tin Machine were an Anglo-American hard rock group formed in 1988, notable for being fronted by English singer-songwriter David Bowie. The band consisted of Bowie on lead vocals, sax and guitar, Reeves Gabrels on guitar, Tony Fox Sales on bass, and Hunt Sales on drums. Both Tony and Hunt are the sons of comedian Soupy Sales. Guitarist Kevin Armstrong was an unofficial fifth member of the band, playing on the first studio album and both tours.

The group then went on hiatus while Bowie conducted his solo Sound+Vision Tour. In December 1990, Bowie split from EMI. Hunt Sales said that EMI "kind of freaked out a little bit at the strident, single-less Tin Machine debut", which partially explained why Bowie switched music labels. In March 1991, the band signed to Victory Music, a new label launched by JVC and distributed worldwide by London Records and Polygram, and recorded more new material. This was combined with tracks from the Sydney sessions to form the Tin Machine II album. The album was described as "just as impure and twisted [as their first album], but more R&B and less abrasive." Gabrels explained the change between the first and second album was because by the second album, "we knew one another as musicians. ... It wasn't as dense. And we actually left more room, I think for David to come up with some interesting melodies. There was more room for vocals on this record." In late 1991 Bowie reiterated that he was still happy being in the band during that time, stating "I'm content. ... I'm deriving a great deal of fulfillment from working with Tin Machine", and band-mate Gabrels agreed, saying "we're doing exactly what we wanted to do." During press performances for songs on the album, Gabrels played his guitar with a vibrator and for a performance on BBC's "Top of the Pops", who banned the use of the vibrator, he mimed playing his guitar with a chocolate eclair. From 5 October 1991 to 17 February 1992, the group undertook a larger tour, known as the It's My Life Tour. The band was joined on this tour by guitarist Eric Schermerhorn. On 23 November 1991, the band was the musical guest during Saturday Night Live's 17th season.

were there any other performances?

Answer with quotes:
press performances for songs on the album,