[Q]: Read the following paragraph and extract the answer for the question: Whose publisher was named Friedrich Kistner?  On Bennett's return to London he took up a teaching post at the RAM which he held until 1858. During his second long stay in Germany, from October 1838 to March 1839, he played his Fourth Piano Concerto (Op. 19, in F minor) and the Wood Nymphs Overture, Op. 20. Returning to England, he wrote to his Leipzig publisher Friedrich Kistner in 1840, bemoaning the difference between England and Germany (and hoping that a German would redress the situation): You know what a dreadful place England is for music; and in London I have nobody who I can talk to about such things, all the people are mad with [Sigismond] Thalberg and [Johann] Strauss [I], and I have not heard a single Symphony or Overture in one concert since last June. I sincerely hope that Prince Albert ... will do something to improve our taste. On Bennett's third trip, from January to March 1842, in which he also visited Kassel, Dresden and Berlin, he played his Caprice for piano and orchestra, Op. 22, in Leipzig. Despite his then-pessimistic view of music in England, Bennett missed his chance to establish himself in Germany. The musicologist Nicholas Temperley writes One might guess that the early loss of both parents produced in Bennett an exceptionally intense need for reassurance and encouragement. England could not provide this for a native composer in his time. He found it temporarily in German musical circles; yet, when the opportunity came to claim his earned place as a leader in German music, he was not quite bold enough to grasp it.
****
[A]: Bennett's


[Q]: Read the following paragraph and extract the answer for the question: What is the first name of the mother of the boyfriend to the friendly alien?  Robins plays bumbling mad scientist Nathaniel Pickman Wingate, of the Miskatonic University. He works on opening a portal to another dimension while his wife, Nancy and family prepare his fiftieth birthday party.  When he succeeds with contact with the new dimension, two triops-like creatures escape. These creatures possess shape-shifting abilities that allows them to assume the form and identity of anything, and thusly do so with Nancy's cousin, Count Desmon of Liechtenstein and Jasmine, a model from son Sam's (Dan Evans) poster. Jasmine and Desmon are shown to be polar behavioral opposites. Jasmine is friendly and intelligent. Via her telepathic abilities she quickly becomes Sam's girlfriend. Desmon on the other hand is ill-behaved, surly, and mischievously malevolent. His mischievous personality drives him to pull terrible tricks on Sam's family via his powers—for example, Lindy overuses the phone, so Desmon stuffs the receiver in her mouth, causing her to go to the ER to have it extracted. Handyman Floyd is hurt by some cut wires a vindictive Desmon moves with psychokinesis giving him a severe electric shock. Suffering difficulties in retaining his new body, Desmon frightens off the maid Emma when he tries to seduce her. Reverend Lawrence Newman, Nathan's college roommate, tries some bedroom antics with Nathan's sister, Angelica; Desmon, clinging to the ceiling above them, uses his powers to transform Lawrence's penis into a dragon-like creature that attacks him.
****
[A]: Nancy


[Q]: Read the following paragraph and extract the answer for the question: What are the last names of the people who are desperate for money, and enter a bar?  In 1987 in Oklahoma, Danielle Edmondston is a troubled and promiscuous high school student. She argues with her mother, Sue-Ann, who is about to marry a Mormon, Ray, and amidst the chaos she befriends Clarke Walters, a shy, gay classmate. Together, they flee in a car owned by Clarke's homophobic father, Joseph, and embark on a road trip to Fresno, where Danielle expects to find her birth father, Danny Briggs. Meanwhile, Sue-Ann and Clarke's mother, Peggy, chase after them. Joseph breaks into Danielle's house in an attempt to find Clarke, only to find that the entire family is gone in vacation, besides Danielle, who has already left with Clarke. Joseph is then arrested for breaking into the house. He calls Peggy to bail him out, only to find out that Peggy refuses to let him out and that she will not allow him to harm Clarke for being gay anymore. Joseph, aggravated, has to stay in the cell until a judge can see him. On the way, Danielle and Clarke pick up a hitchhiker named Joel, who after they stop for rest, has sex with Clarke. Clarke awakens the next morning to find that he is gone, leaving him heartbroken. Clarke blames Danielle for this. After seemingly moving on and getting back in the car, it breaks down on the side of the road. Clarke and Danielle continue on foot, trying to rent a car, only to find Joseph has been released from prison and has reported their credit card stolen. Desperate for money, the two enter a bar and Danielle enters a stripping contest. After she is booed profusely, Clarke realizes that it is a biker gay bar. Danielle tells him he must strip instead.
****
[A]: Edmondston


[Q]: Read the following paragraph and extract the answer for the question: What is the last name of the person who wrote a  text is a combination of poems celebrating the Australian wilderness and visionary Christianity?  A few composers have written symphonies for unaccompanied chorus, in which the choir performs both vocal and instrumental functions. Granville Bantock composed three such works—Atalanta in Calydon (1911), Vanity of Vanities (1913) and A Pageant of Human Life (1913). His Atalanta, called by musicologist Herbert Antcliffe "the most important [work of the three] alike in technical experiment and in inspiration", was written for a choir of at least 200, the composer specifying "'not less than 10 voices for each part,'" a work with 20 separate vocal parts. Using these forces, Bantock formed groups "of different weights and colors to get something of the varied play of tints and perspective [of an orchestra]". In addition, the choir is generally divided into three sections, approximating the timbres of woodwinds, brass and strings. Within these divisions, Antcliffe writes, Almost every possible means of vocal expression is employed separately or in combination with others. To hear the different parts of the choir describing in word and tone "laughter" and "tears" respectively at the same time is to realize how little the possibilities of choral singing have as yet been grasped by the ordinary conductor and composer. Such combinations are extremely effective when properly achieved, but they are very difficult to achieve. Roy Harris wrote his Symphony for Voices in 1935 for a cappella choir split into eight parts. Harris focused on harmony, rhythm and dynamics, allowing the text by Walt Whitman to dictate the choral writing. "In a real sense, the human strivings so vividly portrayed in Whitman's poetry find a musical analog to the trials to which the singers are subjected", John Profitt writes both of the music's difficulty for performers and of its highly evocative quality. Malcolm Williamson wrote his Symphony for Voices between 1960 and 1962, setting texts by Australian poet James McAuley. Lewis Mitchell writes that the work is not a symphony in any true sense, but rather a four-movement work preceded by an...
****
[A]:
Mitchell