Question: When was the building of The first performance of Pohjola's Daughter built  

Context articles: Hedemora Gamla Theater
Mass in G minor (Vaughan Williams)
The Fruits of Enlightenment
Pohjola's Daughter
Symphony No. 6 (Tchaikovsky)
The Planets: A Modern Allegory
Pulitzer Prize for Music
Essay for Orchestra
Mariinsky Theatre
Ivanov (play)

Teaterladan (The barn theatre), officially Hedemora Gamla Theater (old Swedish spelling of "Old Theatre of Hedemora"), is a theatre and a listed building in Hedemora, Dalarna County, Sweden.
 It was built somewhere between 1826 and 1829 as a combined barn and theatre in three floors, with the stage and dressing rooms at the top and the storage area at the two lower floors.
 The first performance at the stage was a play performed by A. P. Bergmans Sällskap on February 1, 1829.
 From 1888 to 1910 the building was rented by the Salvation Army.
 When they moved, the building was left unused until 1946, when Hedemora celebrated 500 years as a stad.
 It was restored, and dedicated by the Crown Prince Couple Gustaf Adolf and Louise on June 20, 1946.
The Mass in G minor is a choral work by Ralph Vaughan Williams written in 1921.
 It is perhaps notable as the first mass written in a distinctly English manner since the sixteenth century.
 The composer dedicated the piece to Gustav Holst and the Whitsuntide Singers at Thaxted in north Essex, but it was first performed by the City of Birmingham Choir on December 6, 1922.
 Though the first performance was in a concert venue Vaughan Williams intended the mass to be used in a liturgical setting.
 R.R Terry directed its first performance at Westminster Cathedral.
Tolstoy created the first, incomplete draft of the play in 1886, along with "The Power of Darkness".
 Three years later, his children and wife persuaded him to complete the manuscript sufficiently for a house performance in Yasnaya Polyana.
 Tolstoy initially denied the proposal but quickly took the lead in directing the amateur actors; the cast included twenty six of his children, two nieces, a court prosecutor from Tula and a judge from Moscow.
 This first performance was held December 30, 1889.
 According to Sergei Tolstoy, the 1889 play deliberately reflected the realities of Yasnaya Polyana and the neighboring country estates, even using the real names of Tula gentry for the stage characters (these names were replaced with purely fictitious ones later).
 The first performance washed out the border between imaginary characters and the real personalities playing them, removing the fourth wall between actors and the audience; it has never since been reproduced in this form.
 The audience received the play well, and it was reproduced by Tula amateurs, including Tatyana Tolstaya, in April 1890, with the proceeds donated to a local orphanage.
 The second performance was attended by Maly theatre actor Alexander Yuzhin and independent theatre director Vladimir Nemirovich-Danchenko.
The tone poem Pohjola's Daughter (Pohjolan tytär ), Op.
 49, was composed by the Finnish composer Jean Sibelius in 1906.
 Originally, Sibelius intended to title the work "Väinämöinen ", after the character in the "Kalevala " (the Finnish national epic).
 The publisher Robert Lienau insisted on the German title "Tochter des Nordens" ("Daughter of the North"), which means the same as the work's Finnish title, "Pohjolan tytär", but is traditionally translated as "Pohjola's Daughter" in English, which Sibelius then countered with the new title "L'aventure d'un héros ".
 He also considered the title "Luonnotar ".
 However, Lienau's suggestion eventually became the work's published title.
 (The title "Luonnotar " was given to a later work.)
 This was Sibelius' first work that he wrote directly for a German music publisher.
 The first performance was in Saint Petersburg, Russia in December 1906, with the composer himself conducting the Orchestra of the Mariinsky Theatre.
The Symphony No. 6 in B minor, Op. 74, Pathétique is Pyotr Ilyich Tchaikovsky's final completed symphony, written between February and the end of August 1893.
 The composer entitled the work "The Passionate Symphony", employing a Russian word, Патетическая ("Pateticheskaya"), meaning "passionate" or "emotional", that was then mistranslated into French as "pathétique", "evoking pity", yet the mistranslation survived subsequent productions in every country but Russia.
 The composer led the first performance in Saint Petersburg on 16/28 October of that year, nine days before his death.
 The second performance, conducted by Eduard Nápravník, took place 21 days later, at a memorial concert on 6/18 November.
 It included some minor corrections that Tchaikovsky had made after the premiere, and was thus the first performance of the work in the exact form in which it is known today.
 The first performance in Moscow was on 4/16 December, conducted by Vasily Safonov.
 It was the last of Tchaikovsky's compositions premiered in his lifetime; his last composition of all, the single-movement 3rd Piano Concerto, Op. 75, which was completed in October 1893, a short time before his death, received a posthumous premiere.
The Planets: A Modern Allegory is a radio play, written in verse, by Alfred Kreymborg.
 The first performance was on 6 June 1938 by the National Broadcasting Company at the Hayden Planetarium in New York City, and was directed by Thomas L. Riley.
 The play was originally set to the music of "The Planets" Suite by Gustav Holst; for the first performance the NBC Symphony Orchestra was conducted by H. Leopold Spitalny.
 The first broadcast was so enthusiastically received that it was repeated a few weeks later.
The Pulitzer Prize for Music is one of the seven American Pulitzer Prizes that are annually awarded for Letters, Drama, and Music.
 It was first awarded in 1943.
 Joseph Pulitzer did not call for such a prize in his will, but had arranged for a music scholarship to be awarded each year.
 This was eventually converted into a full-fledged prize: "For a distinguished musical composition of significant dimension by an American that has had its first performance in the United States during the year."
 Because of the requirement that the composition had its world premiere during the year of its award, the winning work had rarely been recorded and sometimes had received only one performance.
 In 2004 the terms were modified to read: "For a distinguished musical composition by an American that has had its first performance or recording in the United States during the year."
Samuel Barber's Essay for Orchestra, Op.
 12, completed in the first half of 1938, is an orchestral work in one movement.
 It was given its first performance by Arturo Toscanini with the NBC Symphony Orchestra on November 5, 1938 in New York in a radio broadcast concert in which the composer's "Adagio for Strings" saw its first performance.
 It lasts around 8 minutes and is dedicated "To C.E." The essay is now known as the "First Essay for Orchestra" after Barber wrote his "Second Essay for Orchestra" in 1942.
 He also wrote a "Third Essay" in 1978.
The Mariinsky Theatre (Russian: Мариинский театр , Mariinskiy Teatr, also spelled Maryinsky or Mariyinsky) is a historic theatre of opera and ballet in Saint Petersburg, Russia.
 Opened in 1860, it became the preeminent music theatre of late 19th century Russia, where many of the stage masterpieces of Tchaikovsky, Mussorgsky, and Rimsky-Korsakov received their premieres.
 Through most of the Soviet era, it was known as the Kirov Theatre.
 Today, the Mariinsky Theatre is home to the Mariinsky Ballet, Mariinsky Opera and Mariinsky Orchestra.
 Since Yuri Temirkanov's retirement in 1988, the conductor Valery Gergiev has served as the theatre's general director.
"Ivanov" was first performed in 1887, when Fiodor Korsh, owner of the Korsh Theatre in Moscow, commissioned Chekhov to write a comedy.
 Chekhov, however, responded with a four-act drama, which he wrote in ten days.
 Despite the success of its first performance, the production disgusted Chekhov himself.
 In a letter to his brother, he wrote that he "did not recognise his first remarks as my own" and that the actors "do not know their parts and talk nonsense".
 Irritated by this failure, Chekhov made alterations to the play.
 Consequently, the final version is different from that first performance.
 After this revision, it was accepted to be performed in St. Petersburg in 1889.
 Chekhov's revised version was a success and offered a foretaste of the style and themes of his subsequent masterpieces.