[Q]: Found the following article online, use it to answer the question: What are the first names of the people who began publishing their compositions in 1875?  Although "Amazing Grace" set to "New Britain" was popular, other versions existed regionally. Primitive Baptists in the Appalachian region often used "New Britain" with other hymns, and sometimes sing the words of "Amazing Grace" to other folk songs, including titles such as "In the Pines", "Pisgah", "Primrose", and "Evan", as all are able to be sung in common meter, of which the majority of their repertoire consists. A tune named "Arlington" accompanied Newton's verses as much as "New Britain" for a time in the late 19th century. Two musical arrangers named Dwight Moody and Ira Sankey heralded another religious revival in the cities of the U.S. and Europe, giving the song international exposure. Moody's preaching and Sankey's musical gifts were significant; their arrangements were the forerunners of gospel music, and churches all over the U.S. were eager to acquire them. Moody and Sankey began publishing their compositions in 1875, and "Amazing Grace" appeared three times with three different melodies, but they were the first to give it its title; hymns were typically published using the first line of the lyrics, or the name of the tune such as "New Britain". A publisher named Edwin Othello Excell gave the version of "Amazing Grace" set to "New Britain" immense popularity by publishing it in a series of hymnals that were used in urban churches. Excell altered some of Walker's music, making it more contemporary and European, giving "New Britain" some distance from its rural folk-music origins. Excell's version was more palatable for a growing urban middle class and arranged for larger church choirs. Several editions featuring Newton's first three stanzas and the verse previously included by Harriet Beecher Stowe in Uncle Tom's Cabin were published by Excell between 1900 and 1910, and his version of "Amazing Grace" became the standard form of the song in American churches.
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[A]: Dwight


[Q]: Found the following article online, use it to answer the question: What is the name of the park that currently has the large concrete chairs that were at the ampitheater of the location that was in the path of rising lake waters?  Discussion of damming the White River for flood control began in the 1930s, and the U.S. Army Corps of Engineers (CoE) held hearings on building a dam in January 1946. The new dam would create a lake 50 miles (80 km) long, and one arm would extend to Monte Ne. Work on Beaver Dam began in 1960 as the CoE impounded and bought land around the White River. In July 1962, Mary Powell sold Camp Joyzelle to the CoE, and W. T. McWhorten sold his land as well. The Federal Government required that all cemeteries and burial grounds be moved. This included the Harvey tomb, and it was no easy task. In 1962 contractor Harald Mathis of Springdale took nine days to raze the 40-ton tomb and one to move it. The first attempt broke a flatbed truck. Another contractor from Huntsville with a stronger truck then had to be called in. A new road was laid to the new site of Harvey's tomb. The tomb was placed on the crest of a hill donated by Harvey's longtime friends and neighbors Mr. and Mrs. Kenneth Doescher. Today, the tomb sits on private property visible from the Monte Ne boat launch on Beaver Lake. Relocation of the aging tomb put pressure on it, causing it to crack.The CoE mistakenly believed that the waters of Beaver Lake would cover the area of the large hotels, so those parcels were added to the land they purchased for the project. Dallas Barrack, who owned Oklahoma Row, felt that he had been treated poorly and had received much less than his property was worth. The CoE held a sealed-bid auction and J. G. Gladdens purchased what was left of Missouri and Oklahoma Rows. He planned to move the remnants of Oklahoma Row out of the path of the rising lake waters. In order to do this, it was first necessary to remove the log portion or shell of the hotel. The original windows and doors were dismantled for the move and later reinstalled. The fireplaces, as well as all of the major stonework were later torn down. Also sold at auction were two massive concrete chairs that had been at the base of the amphitheater. They were bought by...
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[A]: Frisco Park


[Q]: Found the following article online, use it to answer the question: What is the name of the person that George Grove helped?  In 1870, concerned at the dominance of German music and the lack of opportunity for young French composers to have their works played, Saint-Saëns and Romain Bussine, professor of singing at the Conservatoire, discussed the founding of a society to promote new French music. Before they could take the proposal further, the Franco-Prussian War broke out. Saint-Saëns served in the National Guard during the war. During the brief but bloody Paris Commune that followed, his superior at the Madeleine, the Abbé Deguerry, was murdered by rebels; Saint-Saëns was fortunate to escape to temporary exile in England where he arrived in May 1871. With the help of George Grove and others he supported himself while there, giving recitals. Returning to Paris in the same year, he found that anti-German sentiments had considerably enhanced support for the idea of a pro-French musical society. The Société Nationale de Musique, with its motto, "Ars Gallica", had been established in February 1871, with Bussine as president, Saint-Saëns as vice-president and Henri Duparc, Fauré, Franck and Jules Massenet among its founder-members. As an admirer of Liszt's innovative symphonic poems, Saint-Saëns enthusiastically adopted the form; his first "poème symphonique" was Le Rouet d'Omphale (1871), premiered at a concert of the Sociéte Nationale in January 1872. In the same year, after more than a decade of intermittent work on operatic scores, Saint-Saëns finally had one of his operas staged. La princesse jaune ("The Yellow Princess"), a one-act, light romantic piece, was given at the Opéra-Comique, Paris in June. It ran for five performances.Throughout the 1860s and early 1870s, Saint-Saëns had continued to live a bachelor existence, sharing a large fourth-floor flat in the Rue du Faubourg Saint-Honoré with his mother. In 1875, he surprised many by marrying. The groom was approaching forty and his bride was nineteen; she was Marie-Laure Truffot, the sister of one of the composer's pupils. The marriage was not a success. In the words of the...
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[A]:
Saint-Saëns