Background: Carl August Nielsen (Danish: [ka:l 'nelsn]; 9 June 1865 - 3 October 1931) was a Danish musician, conductor and violinist, widely recognized as his country's most prominent composer. Brought up by poor but musically talented parents on the island of Funen, he demonstrated his musical abilities at an early age. He initially played in a military band before attending the Royal Danish Academy of Music in Copenhagen from 1884 until December 1886.
Context: Nielsen was born the seventh of twelve children to a poor peasant family in 1865 at Sortelung near Norre Lyndelse, south of Odense on the island of Funen. His father, Niels Jorgensen, was a house painter and traditional musician who, with his abilities as a fiddler and cornet player, was in strong demand for local celebrations. Nielsen described his childhood in his autobiography Min Fynske Barndom (My Childhood on Funen). His mother, whom he recalls singing folk songs during his childhood, came from a well-to-do family of sea captains while one of his half-uncles, Hans Andersen (1837-1881), was a talented musician. Nielsen gave an account of his introduction to music: "I had heard music before, heard father play the violin and cornet, heard mother singing, and, when in bed with the measles, I had tried myself out on the little violin". He had received the instrument from his mother when he was six. He learned the violin and piano as a child and wrote his earliest compositions at the age of eight or nine: a lullaby, now lost, and a polka which the composer mentioned in his autobiography. As his parents did not believe he had any future as a musician, they apprenticed him to a shopkeeper from a nearby village when he was fourteen; the shopkeeper went bankrupt by midsummer and Nielsen had to return home. After learning to play brass instruments, on 1 November 1879 he became a bugler and alto trombonist in the band of the army's 16th Battalion at nearby Odense. Nielsen did not give up the violin during his time with the battalion, continuing to play it when he went home to perform at dances with his father. The army paid him three kroner and 45 ore and a loaf of bread every five days for two and a half years, after which his salary was raised slightly, enabling him to buy the civilian clothes he needed to perform at barn dances.
Question: And his mother?
Answer: Min Fynske Barndom

Background: Alfred Cellier (1 December 1844 - 28 December 1891) was an English composer, orchestrator and conductor. In addition to conducting and music directing the original productions of several of the most famous Gilbert and Sullivan works and writing the overtures to some of them, Cellier conducted at many theatres in London, New York and on tour in Britain, America and Australia. He composed over a dozen operas and other works for the theatre, as well as for orchestra, but his 1886 comic opera, Dorothy, was by far his most successful work. It became the longest-running piece of musical theatre in the nineteenth century.
Context: In 1885, Cellier composed a song, "There once was a time, my darling", for a piece produced by George Edwardes, Little Jack Sheppard (1885). Meanwhile he had composed what would become his greatest success, the comic opera Dorothy, with a libretto by B. C. Stephenson. To create the score, Cellier repurposed some of his music from his 1876 failure, Nell Gwynne, which had, nevertheless, received praise for its music. Dorothy had been announced for production at the Royalty Theatre in 1884, but ultimately Edwardes mounted it at his Gaiety Theatre on 25 September 1886. Cellier was in Australia from February 1886 to February 1887, conducting The Mikado and other Gilbert and Sullivan operas for the J. C. Williamson organization and was absent from London during the productions of The Carp, at the Savoy, and Dorothy. Neither the music nor the libretto of Dorothy initially attracted critical praise. The Times wrote, "Gentility reigns supreme, and with it unfortunately also a good deal of the refined feebleness and the ineptitude which are the defects of that quality." Stephenson rewrote the lyrics of one of Cellier's old songs, "Old Dreams" as "Queen of My Heart"; this helped the work to find success after it transferred in December to the Prince of Wales Theatre. The following year H. J. Leslie took over the production from Edwardes and introduced new stars, including Marie Tempest. Dorothy became an even greater success at the box office and transferred in December 1888 to the Lyric Theatre, built using the profits from the production, where it ran into 1889. Its initial run of a total of 931 performances was the longest of any piece of musical theatre up to that time, longer than even The Mikado, a fact that caused consternation to Cellier's friend Arthur Sullivan. Some critics reconsidered their earlier condemnation, the work became regarded as a classic Victorian piece, and the initially despised plot was traced seriously back to the Restoration playwrights David Garrick and Aphra Behn, and to Oliver Goldsmith and even Shakespeare. Its success led to revivals of some of Cellier's earlier works. Cellier returned to Australia in 1888 to conduct Dorothy and made a final brief visit there for health reasons in early 1891, together with Stephenson. His last comic operas, Doris (1889, with Stephenson) and The Mountebanks (with Gilbert, produced in January 1892, a few days after the composer's death), were both modestly successful. Also after Cellier's death, Rutland Barrington used some of his music in his 1902 adaptation of Water Babies. Often in ill health throughout his life, Cellier was unable to finish The Mountebanks, and Ivan Caryll completed the score. Cellier owed much to the influence of Sullivan. He was a fertile melodist, and his writing exhibited elegance and refinement, although he was not able to infuse his music with humour in the way that Sullivan did. Cellier died at his home in Bloomsbury, London, at the age of 47. He was buried in West Norwood Cemetery.
Question: Where there any other later pieces after that?
Answer:
His last comic operas, Doris (1889, with Stephenson) and The Mountebanks (with Gilbert, produced in January 1892, a few days after the composer's death), were both modestly successful.