Problem: What is the last name of the person who served as musical director at Morley College from 1907 until 1924? Answer the above question based on the context below: Gustav Theodore Holst (born Gustavus Theodore von Holst; 21 September 1874 25 May 1934) was an English composer, arranger and teacher. Best known for his orchestral suite The Planets, he composed a large number of other works across a range of genres, although none achieved comparable success. His distinctive compositional style was the product of many influences, Richard Wagner and Richard Strauss being most crucial early in his development. The subsequent inspiration of the English folksong revival of the early 20th century, and the example of such rising modern composers as Maurice Ravel, led Holst to develop and refine an individual style. There were professional musicians in the previous three generations of Holst's family and it was clear from his early years that he would follow the same calling. He hoped to become a pianist, but was prevented by neuritis in his right arm. Despite his father's reservations, he pursued a career as a composer, studying at the Royal College of Music under Charles Villiers Stanford. Unable to support himself by his compositions, he played the trombone professionally and later became a teachera great one, according to his colleague Ralph Vaughan Williams. Among other teaching activities he built up a strong tradition of performance at Morley College, where he served as musical director from 1907 until 1924, and pioneered music education for women at St Paul's Girls' School, where he taught from 1905 until his death in 1934. He was the founder of a series of Whitsun music festivals, which ran from 1916 for the remainder of his life. Holst's works were played frequently in the early years of the 20th century, but it was not until the international success of The Planets in the years immediately after the First World War that he became a well-known figure. A shy man, he did not welcome this fame, and preferred to be left in peace to compose and teach. In his later years his uncompromising, personal style of composition struck many music lovers as too austere, and his brief...

A: Holst
Problem: Given the question: What is the name of the person who gave Raff piano sketches to orchestrate? Answer the above question based on the context below: While Raff was able to offer "practical suggestions [in orchestration] which were of great value to Liszt", there may have been "a basic misunderstanding" of the nature of their collaboration. Liszt wanted to learn more about instrumentation and acknowledged Raff's greater expertise in this area. Hence, he gave Raff piano sketches to orchestrate, just as he had done earlier with Conradi"so that he might rehearse them, reflect on them, and then, as his confidence in the orchestra grew, change them." Raff disagreed, having the impression that Liszt wanted him on equal terms as a full collaborator. While attending an 1850 rehearsal of Prometheus, he told Bernhard Cossmann, who sat next to him, "Listen to the instrumentation. It is by me."Raff continued making such claims about his role in Liszt's compositional process. Some of these accounts, published posthumously by Die Musik in 1902 and 1903, suggest that he was an equal collaborator with Liszt. Raff's assertions were supported by Joachim, who had been active in Weimar at approximately the same time as Raff. Walker writes that Joachim later recalled to Raff's widow "that he had seen Raff 'produce full orchestral scores from piano sketches.'" Joachim also told Raff's biographer Andreas Moser that "the E-flat-major Piano Concerto was orchestrated from beginning to end by Raff." Raff's and Joachim's statements effectively questioned the authorship of Liszt's orchestral music, especially the symphonic poems. This speculation was debased when composer and Liszt scholar Peter Raabe carefully compared all sketches then known of Liszt's orchestral works with the published versions of the same works. Raabe demonstrated that, regardless of the position with first drafts, or of how much assistance Liszt may have received from Raff or Conradi at that point, every note of the final versions represents Liszt's intentions.
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The answer is:
Liszt
[Q]: What was the name of the family that owned Belton House before it was accepted by the National Trust? Answer the above question based on the context below: Until its acceptance by the National Trust, Belton House was always in the ownership of the family of its builder, though the failure of three generations to produce a son and heir caused the ownership to pass sideways and sometimes through the female line. The owners of Belton are buried in the village of Belton's parish church close to the house. Their tombs are collectively one of the most complete sets of family memorials in Englandcontinuous generation to generation for almost 350 years. The earliest Brownlow buried here is the founder of the family fortune the lawyer Richard Brownlow (15551638), and one of the most recent is the 6th Baron Brownlow (18991978). The owners of Belton House have been: Sir John Brownlow I (15941679) Bequeathed Belton to his great-nephew John Brownlow II. Sir John Brownlow II (16591697). Builder of Belton House Sir William Brownlow (16651702). Brother of Sir John Brownlow II, permitted his widowed sister-in-law Alice to retain Belton. Sir John Brownlow III (16901754). Created Viscount Tyrconnel in 1718. Nephew and son-in-law of Sir John Brownlow II. Sir John Cust, 3rd Baronet (17181770). Speaker of the House of Commons and nephew of Tyrconnel. Sir Brownlow Cust (17441807). Created Baron Brownlow in 1776. Son of Sir John Cust. John, 2nd Baron Brownlow (17791853). Created 1st Earl Brownlow in 1815. Son of Sir Brownlow Cust. John Egerton-Cust, 2nd Earl Brownlow (18421867) Grandson of John, 2nd Baron Brownlow. Adelbert, 3rd (and last) Earl Brownlow (18441921). Brother of John, 2nd Earl Brownlow. Adelbert Salusbury Cockayne Cust, 5th Baron Brownlow (18671927). Second cousin of Adelbert, 3rd Earl Brownlow. Peregrine Cust, 6th Baron Brownlow (18991978). Son of the 5th Baron Brownlow. Edward Cust, 7th Baron Brownlow (born 1936). Son of the 6th Baron Brownlow. The National Trust (1984 onwards).
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[A]:
Brownlow