Problem: Given the question: What newspapers carried the obituary of the man who was buried next to his wife in Lancaster?  Answer the above question based on the context below:  On 27 July 1843 Sharpe married Elizabeth Fletcher, second sister of John Fletcher, at Bolton Parish Church. The couple had five children: Francis in 1845, Edmund junior (known as Ted) in 1847, Emily in 1849, Catherine (known as Kate) in 1850, and Alfred in 1853.When Sharpe moved his family from Lancaster to live in North Wales in early 1856 he was aged 47.  The seven years he spent there were later described, in a Memoir published in 1882 by the Architectural Association, as "perhaps the happiest years of his life". The family initially lived in a semi-detached house called Bron Haul near Betws-y-Coed, on what is now the A5 road.  Two years later he bought a larger property called Coed-y-Celyn on the east bank of the River Lledr, about a mile south of Betws-y-Coed. After moving to Geneva, the family lived for about three years in a rented property called Richemont on the road from Geneva to Chêne-Bougeries. Finally in 1866 the family moved back to Lancaster to live in Scotforth, then a small village to the south of the town.Elizabeth Sharpe died on 15 March 1876, a month after the consecration of St Paul, Scotforth where a plaque to her memory can be found in the chancel of the church. A year later, Sharpe travelled to northern Italy with his two daughters, his youngest son Alfred, and three research assistants, to make drawings of 12th-century churches in the region. During the trip he became seriously ill with a chest infection and died on 8 May, in or near Milan.  His body was taken to Lancaster, where he was buried on 19 May, alongside his wife, in the municipal cemetery.  "Glowing obituaries" were carried by the local newspapers and the architectural press, including The Builder, The Building News, and The Architect. His estate was valued at "under £14,000" (equivalent to £1,290,000 as of 2018).  A plaque to his memory was placed in the chancel of St Paul's, next to that of his wife.
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The answer is:
The Builder


Problem: Given the question: What is the first name of the person who could be certain that any revived Poland would be unfriendly since he intended to keep the eastern portion of the country?  Answer the above question based on the context below:  Kozelsk and Starobelsk were used mainly for military officers, while Ostashkov was used mainly for Polish Scouting, gendarmes, police officers, and prison officers. Some prisoners were members of other groups of Polish intelligentsia, such as priests, landowners, and law personnel. The approximate distribution of men throughout the camps was as follows: Kozelsk, 5000; Ostashkov, 6570; and Starobelsk, 4000. They totalled 15,570 men.According to a report from 19 November 1939, the NKVD had about 40,000 Polish POWs: 8,000-8,500 officers and warrant officers, 6,000-6,500 officers of police, and 25,000 soldiers and non-commissioned officers who were still being held as POWs. In December, a wave of arrests resulted in the imprisonment of additional Polish officers. Ivan Serov reported to Lavrentiy Beria on 3 December that "in all, 1,057 former officers of the Polish Army had been arrested". The 25,000 soldiers and non-commissioned officers were assigned to forced labor (road construction, heavy metallurgy).Once at the camps, from October 1939 to February 1940, the Poles were subjected to lengthy interrogations and constant political agitation by NKVD officers, such as Vasily Zarubin. The prisoners assumed they would be released soon, but the interviews were in effect a selection process to determine who would live and who would die. According to NKVD reports, if a prisoner could not be induced to adopt a pro-Soviet attitude, he was declared a "hardened and uncompromising enemy of Soviet authority".On 5 March 1940, pursuant to a note to Joseph Stalin from Beria, six members of the Soviet Politburo — Stalin, Vyacheslav Molotov, Lazar Kaganovich, Kliment Voroshilov, Anastas Mikoyan, and Mikhail Kalinin — signed an order to execute 25,700 Polish "nationalists and counterrevolutionaries" kept at camps and prisons in occupied western Ukraine and Belarus. The reason for the massacre, according to the historian Gerhard Weinberg, was that Stalin wanted to deprive a potential future Polish military of a large portion of its...
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The answer is:
Joseph


Problem: Given the question: What is the name of the song where there is a chorus of women's voices wordlessly by the composer who was inspired by Walt Whitman?  Answer the above question based on the context below:  Vaughan Williams' program note for A Sea Symphony discusses how the text was to be treated as music. The composer writes, "The plan of the work is symphonic rather than narrative or dramatic, and this may be held to justify the frequent repetition of important words and phrases which occur in the poem. The words as well as the music are thus treated symphonically." Walt Whitman's poems inspired him to write the symphony, and Whitman's use of free verse became appreciated at a time where fluidity of structure was becoming more attractive than traditional, metrical settings of text. This fluidity helped facilitate the non-narrative, symphonic treatment of text that Vaughan Williams had in mind. In the third movement in particular, the text is loosely descriptive and can be "pushed about by the music", some lines being repeated, some not consecutive in the written text immediately following one another in the music, and some left out entirely.Vaughan Williams was not the only composer following a non-narrative approach to his text. Mahler took a similar, perhaps even more radical approach in his Eighth Symphony, presenting many lines of the first part, "Veni, Creator Spiritus", in what music writer and critic Michael Steinberg referred to as "an incredibly dense growth of repetitions, combinations, inversions, transpositions and conflations". He does the same with Goethe's text in Part Two of the symphony, making two substantial cuts and other changes.Other works take the use of text as music still further. Vaughan Williams uses a chorus of women's voices wordlessly in his Sinfonia Antartica, based on his music for the film Scott of the Antarctic, to help set the bleakness of the overall atmosphere. While a chorus is used in the second and third movements of Glass's Seventh Symphony, also known as A Toltec Symphony, the text contains no actual words; the composer states that it is instead formed "from loose syllables that add to the evocative context of the overall orchestral texture".
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The answer is:
Sinfonia Antartica