Q: The following article contains an answer for the question: What instrument did Giovanni Battista Barbirolli play while he walked around? , can you please find it?   Giovanni Battista Barbirolli was born in Southampton Row, Holborn, London, the second child and eldest son of an Italian father and a French mother. He was a British national from birth, and as Southampton Row is within the sound of Bow Bells, Barbirolli always regarded himself as a Cockney. His father, Lorenzo Barbirolli (1864–1929), was a Venetian violinist who had settled in London with his wife, Louise Marie, née Ribeyrol (1870–1962). Lorenzo and his father had played in the orchestra at La Scala, Milan, where they had taken part in the première of Otello in 1887. In London they played in West End theatre orchestras, principally that of the Empire, Leicester Square. The young Barbirolli began to play the violin when he was four, but soon changed to the cello. He later said that this was at the instigation of his grandfather who, exasperated at the child's habit of wandering around while practising the violin, bought him a small cello to stop him from "getting in everybody's way". His education at St. Clement Danes Grammar School overlapped, from 1910, with a scholarship at Trinity College of Music. As a Trinity student, he made his concert debut in a cello concerto in the Queen's Hall in 1911. The following year he won a scholarship to the Royal Academy of Music, which he attended from 1912 to 1916, studying harmony, counterpoint and theory under Dr. J. B. McEwen and the cello with Herbert Walenn. In 1914 he was joint winner of the academy's Charles Rube Prize for ensemble playing, and in 1916 The Musical Times singled him out as "that excellent young 'cello player, Mr Giovanni Barbirolli." The principal of the Academy, Sir Alexander Mackenzie, had forbidden students to play the chamber music of Ravel, which he regarded as "a pernicious influence". Barbirolli was keenly interested in modern music, and he and three colleagues secretly rehearsed Ravel's String Quartet in the privacy of a men's lavatory in the Academy.From 1916 to 1918 Barbirolli was a freelance cellist in London. He recalled, "My first...
A: violin

Q: The following article contains an answer for the question: What is the full name of the person that wrote a poem that features pagan rites, sage elders, and the propitiatory sacrifice of a young maiden , can you please find it?   Lawrence Morton, in a study of the origins of The Rite, records that in 1907–08 Stravinsky set to music two poems from Sergey Gorodetsky's collection Yar. Another poem in the anthology, which Stravinsky did not set but is likely to have read, is "Yarila" which, Morton observes, contains many of the basic elements from which The Rite of Spring developed, including pagan rites, sage elders, and the propitiatory sacrifice of a young maiden: "The likeness is too close to be coincidental". Stravinsky himself gave contradictory accounts of the genesis of The Rite. In a 1920 article he stressed that the musical ideas had come first, that the pagan setting had been suggested by the music rather than the other way round. However, in his 1936 autobiography he described the origin of the work thus: "One day [in 1910], when I was finishing the last pages of L'Oiseau de Feu in St Petersburg, I had a fleeting vision ... I saw in my imagination a solemn pagan rite: sage elders, seated in a circle, watching a young girl dance herself to death. They were sacrificing her to propitiate the god of Spring. Such was the theme of the Sacre du Printemps".By May 1910 Stravinsky was discussing his idea with Nicholas Roerich, the foremost Russian expert on folk art and ancient rituals. Roerich had a reputation as an artist and mystic, and had provided the stage designs for Diaghilev's 1909 production of the Polovtsian Dances. The pair quickly agreed on a working title, "The Great Sacrifice" (Russian: Velikaia zhertva); Diaghilev gave his blessing to the work, although the collaboration was put on hold for a year while Stravinsky was occupied with his second major commission for Diaghilev, the ballet Petrushka.In July 1911 Stravinsky visited Talashkino, near Smolensk, where Roerich was staying with the Princess Maria Tenisheva, a noted patron of the arts and a sponsor of Diaghilev's magazine World of Art. Here, over several days, Stravinsky and Roerich finalised the structure of the ballet. Thomas F. Kelly, in his history of the Rite...
A: Sergey Gorodetsky

Q: The following article contains an answer for the question: What are the last names of the men who respond to an assault in the prison? , can you please find it?   William "Bill" Boss, a psychopathic prison warden, watches the end of The Human Centipede 2 (Full Sequence) with his accountant, Dwight Butler. Bill says that he hates the films as his feet are massaged by his secretary, Daisy. Daisy replies that she enjoyed them. In response, Bill sucks his finger and inserts it into Daisy's vagina, telling her that women should not be allowed to voice their opinions. Dwight interrupts, attempting to pitch a "brilliant idea" to fix the prison's horrible retention and violence rates, but he is interrupted by a phone call. Bill and Dwight are then summoned to the scene of an assault within the prison. One of the officers has been stabbed by an inmate. As punishment, Bill decides to stomp on the arm of the prisoner, exposing the bone and causing immense pain. He promises to do it again when his bones are healed. Back in the Warden's office, Bill receives a mysterious package. After Dwight asks what it contains, Bill reveals that it is a jar of specially imported, dried African clitorises which he eats "for strength." After eating a few, he receives a threatening prank phone call from one of the inmates. Bill waterboards him with three buckets of boiling water, horribly disfiguring him. The inmate tells Bill that he has lost his soul. Governor Hughes arrives immediately afterwards, ordering Bill and Dwight to put a stop to the violence and promising that they will both be fired otherwise. In anger and retaliation, Bill orders a 'mass castration' of the inmates, and castrates one of the prisoners himself. He covers his face in the blood of the inmate and later eats the cooked testicles for lunch, calling it "Energy Food." Daisy is forced to perform fellatio on Bill while Dwight is in the room. Upon completing the act, Daisy eats one of the dried clitorises, mistaking them for candy.
A:
Boss