IN: 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 insisted on lyricism, nuance, rubato, sensitivity, and both emotional and intellectual understanding in performance of music; this is evidenced by anecdotes, correspondence, extant recordings of Schubert's Deutsche Tanze (arr. Webern) and Berg's Violin Concerto under his direction, many such detailed markings in his scores, and finally by his compositional process as both publicly stated and later revealed in the musical and extramusical metaphors and associations everywhere throughout his sketches. As both a composer and conductor he was one of many (e.g., Wilhelm Furtwangler, Dimitri Mitropoulos, Hermann Scherchen) in a contemporaneous tradition of conscientiously and non-literally handling notated musical figures, phrases, and even entire scores so as to maximize expressivity in performance and to cultivate audience engagement and understanding. This aspect of Webern's work had been typically missed in his immediate post-war reception, however, even as it may radically affect the music's reception. For example, Boulez's "complete" recording of Webern's music yielded more to this aesthetic the second time after largely missing it the first; but Eliahu Inbal's rendition of Webern's symphony with the hr-Sinfonieorchester is still far more within the spirit of the late Romantic performance tradition (which Webern seemingly intended for his music), nearly slowing to half-tempo for the whole of first movement and taking care to delineate and shape each melodic strand and expressive gesture throughout the entirety of the work. Gunter Wand's 1966 recording of the Cantata No. 1 (1938-40), op. 29, with the Symphonieorchester des Bayerischen Rundfunks et al., may likewise be contrasted with both of Boulez's renditions.

Was he a composer?

OUT: As both a composer and conductor he was one of many (e.g., Wilhelm Furtwangler, Dimitri Mitropoulos, Hermann Scherchen)

input: Jonah is regarded as a saint by a number of Christian denominations. His feast day in the Roman Catholic Church is on 21 September, according to the Martyrologium Romanum. In Catholicism, the Book of Jonah is also read aloud in its entirety on Maundy Thursday in a Beneventan chant. On the Eastern Orthodox liturgical calendar, Jonah's feast day is on 22 September (for those churches which follow the traditional Julian calendar; 22 September currently falls in October on the modern Gregorian calendar). In the Armenian Apostolic Church, moveable feasts are held in commemoration of Jonah as a single prophet and as one of the Twelve Minor Prophets. Jonah's mission to the Ninevites is commemorated by the Fast of Nineveh in Syriac and Oriental Orthodox Churches. Jonah is commemorated as a prophet in the Calendar of Saints of the Missouri Synod of the Lutheran Church on 22 September. Christian theologians have traditionally interpreted Jonah as a type for Jesus Christ. Jonah being in swallowed by the giant fish was regarded as a foreshadowing of Jesus's crucifixion and the fish vomiting Jonah out onto the beach was seen as a parallel for Jesus's resurrection. Saint Jerome equates Jonah with Jesus's more nationalistic side, and justifies Jonah's actions by arguing that "Jonah acts thus as a patriot, not so much that he hates the Ninevites, as that he does not want to destroy his own people." Other Christian interpreters, including Saint Augustine and Martin Luther, have taken a directly opposite approach, regarding Jonah as the epitome of envy and jealousness, which they regarded as inherent characteristics of the Jewish people. Luther likewise concludes that the kikayon represents Judaism, and that the worm which devours it represents Christ. Luther's antisemitic interpretation of Jonah remained the prevailing interpretation among German Protestants throughout early modern history. J. D. Michaelis comments that "the meaning of the fable hits you right between the eyes", and concludes that the Book of Jonah is a polemic against "the Israelite people's hate and envy towards all the other nations of the earth." Albert Eichhorn was a strong supporter of Michaelis's interpretation. John Calvin and John Hooper regarded the Book of Jonah as a warning to all those who might attempt to flee from the wrath of God. While Luther had been careful to maintain that the Book of Jonah was not written by Jonah, Calvin declared that the Book of Jonah was Jonah's personal confession of guilt. Calvin sees Jonah's time inside the fish's belly as equivalent to the fires of Hell, intended to correct Jonah and set him on the path of righteousness. Also unlike Luther, Calvin finds fault with all the characters in the story, describing the sailors on the boat as "hard and iron-hearted, like Cyclops", the penitence of the Ninevites as "untrained", and the king of Nineveh as a "novice". Hooper, on the other hand, sees Jonah as the archetypal dissident and the ship he is cast out from as a symbol of the state. Hooper deplores such dissidents, decrying: "Can you live quietly with so many Jonasses? Nay then, throw them into the sea!"

Answer this question "Which denominations are these?"
output:
His feast day in the Roman Catholic Church is on 21 September, according to the Martyrologium Romanum.