Question: The Alexandrov Ensemble (Russian: Ansambl' Aleksandrova, tr. Ansambl' Aleksandrova; commonly known as the Red Army Choir in the West) is an official army choir of the Russian armed forces. Founded during the Soviet era, the ensemble consists of a male choir, an orchestra, and a dance ensemble.

Born into a peasant family, Alexander Vasilyevich Alexandrov became the first artistic director of the ensemble, choirmaster, conductor, teacher and the public figure who wrote the music to the National Anthem of the Soviet Union. He came from a musical background of hymns and folk songs, could play the viola and had perfect pitch, so he sang in the church choir and performed at festivals. He was heard singing at the village school by PA Zalivuhin, a soloist in the choir at Kazan Cathedral, St. Petersburg. Zalivuhin persuaded Alexandrov's parents to let the child go to St Petersburg to learn music. In 1898, the young peasant boy became a pupil of the Saint Petersburg Court Chapel. There are two recorded histories of the ensemble: possibly separate elements of the same history. The first says that the initiator of the ensemble was Felix Nikolaevich Danilovich, a theatre director. The first director of the ensemble was chosen from three of Moscow's conductors: Danilin, Chesnokov and Alexandrov. Seen in isolation this would signify that A. V. Alexandrov was not the creator of the ensemble. In this version the first troupe is named as follows. Singers: Tkachenko, Zyukov, Samarin, Rozanov, Koltypin, Tolskov, Golyaev, Charov. Dancers: Maximov, Svetlov. Bayanist: Surdin. The second version says that the ensemble was formed out of the Frunze Red Army Central House in 1928. There is also a story that Stalin then asked Alexandrov to relocate the choir to Moscow. Under the name Red Army Song Ensemble of the M. V. Frunze Red Army Central House, shortly the "Red Army Choir", twelve soldier-performers - a vocal octet, a bayan player, 2 dancers, and a reciter - officially performed for the first time on 12 October 1928 under the direction of their conductor, Alexandr Alexandrov, a young music professor at the Moscow Conservatory. The program, entitled The 22nd Krasnodar Division in Song, consisted mainly of short musical scenes of military life, including Songs of the First Cavalry Army, The Special Far-Eastern Army, and Song about Magnitostroi.

Using a quote from the above article, answer the following question: what else was special about his early years?
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Answer: He came from a musical background of hymns and folk songs, could play the viola

Question: Charles Michael "Chuck" Schuldiner (May 13, 1967 - December 13, 2001) was an American singer, songwriter, and guitarist. He founded the pioneering band Death in 1983. Schuldiner is often referred to as "The Godfather of death metal", and his obituary in the January 5, 2002 issue of UK's Kerrang! magazine said that "Chuck Schuldiner was one of the most significant figures in the history of metal."

Schuldiner formed Death as Mantas in 1983 when he was just 16 years old. Original members were Schuldiner (guitar), Rick Rozz (guitar) and Kam Lee (drums and vocals). In January 1986, Schuldiner moved to Toronto and temporarily joined the Canadian band Slaughter. However, he quickly returned to continue the formation of Death. Death underwent many lineup changes. With Chris Reifert, Schuldiner eventually released the first Death album, titled Scream Bloody Gore, in 1987. He continued with 1988's Leprosy with the line-up of former Mantas guitarist Rick Rozz and rhythm section Terry Butler on bass and Bill Andrews on drums, and 1990's Spiritual Healing, where guitarist James Murphy had replaced the fired Rozz in 1989. After Spiritual Healing, Schuldiner stopped working with full-time band members, preferring to work with studio and live venue musicians, due to bad relationships with Death's previous rhythm section and guitarists. This earned Schuldiner something of a 'perfectionist' reputation in the metal community. Schuldiner had also fired his manager Eric Greif but settled and re-hired him before the recording of his next, influential release. Death's breakthrough album, Human saw the band evolving to a more technical and progressive style, in which Schuldiner displayed his guitar skills more than ever. He continued in this style (and continued the success of the band) with 1993's Individual Thought Patterns, 1995's Symbolic, and finally The Sound of Perseverance in 1998. Throughout his career, Schuldiner was not afraid to take on controversial lyrical subjects, taking an anti-drug stance on "Living Monstrosity" and writing about abortion in "Altering the Future". He put Death on hold after this to continue Control Denied, which he had been putting together prior to the release of The Sound of Perseverance, and released The Fragile Art of Existence in 1999. Control Denied also had other players from the latest Death album but featured a melodic metal vocalist. Schuldiner also played guitar in the "supergroup" Voodoocult on the album Jesus Killing Machine in 1994 and played a guest solo on Naphobia's 1995 release, Of Hell on the track "As Ancients Evolve" as a favor to the band's bassist at the time who was a friend of Schuldiner's. Schuldiner was also asked to be one of the many guest vocalists on Dave Grohl's 2001 Probot. Grohl, Napalm Death, Ozzy Osbourne, and Anthrax all increased efforts to raise funds for Schuldiner's medical bills with Grohl trying to involve Schuldiner on an album he was working on. In a 1999 interview Schuldiner spoke about why he didn't sing on the album The Fragile Art of Existence "...these vocals are all I ever wanted to do in Death but couldn't. I've had this dream of recording like that for years, and it seems like a dream come true. Tim Aymar is an amazing singer and this is the main difference. I think people will be surprised at the violence and strength of the album. Many people are expecting something like Iron Maiden, but, despite being one of my favorite bands, I didn't want to make an Iron Maiden-like album. I wanted to make an unpredictable album, just like I did in Death, I guess. I don't like to make predictable albums."

Using a quote from the above article, answer the following question: did their music have any message?
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Answer:
Schuldiner was not afraid to take on controversial lyrical subjects, taking an anti-drug stance on "Living Monstrosity" and writing about abortion in "Altering the Future".