[Q]: Found the following article online, use it to answer the question: What is the last name of the person who conducted a series of promenade concerts at the Queen's Hall?  Sir Henry Joseph Wood  (3 March 1869 – 19 August 1944) was an English conductor best known for his association with London's annual series of promenade concerts, known as the Proms.  He conducted them for nearly half a century, introducing hundreds of new works to British audiences. After his death, the concerts were officially renamed in his honour as the "Henry Wood Promenade Concerts", although they continued to be generally referred to as "the Proms". Born in modest circumstances to parents who encouraged his musical talent, Wood started his career as an organist. During his studies at the Royal Academy of Music, he came under the influence of the voice teacher Manuel Garcia and became his accompanist. After similar work for Richard D'Oyly Carte's opera companies on the works of Arthur Sullivan and others, Wood became the conductor of a small operatic touring company.  He was soon engaged by the larger Carl Rosa Opera Company. One notable event in his operatic career was conducting the British premiere of Tchaikovsky's Eugene Onegin in 1892. From the mid-1890s until his death, Wood focused on concert conducting. He was engaged by the impresario Robert Newman to conduct a series of promenade concerts at the Queen's Hall, offering a mixture of classical and popular music at low prices. The series was successful, and Wood conducted annual promenade series until his death in 1944. By the 1920s, Wood had steered the repertoire entirely to classical music.  When the Queen's Hall was destroyed by bombing in 1941, the Proms moved to the Royal Albert Hall. Wood declined the chief conductorships of the New York Philharmonic and Boston Symphony Orchestras, believing it his duty to serve music in the United Kingdom. In addition to the Proms, he conducted concerts and festivals throughout the country and also trained the student orchestra at the Royal Academy of Music. He had an enormous influence on the musical life of Britain over his long career: he and Newman greatly improved access to classical music, and Wood...
****
[A]: Wood


[Q]: Found the following article online, use it to answer the question: What two words describe the relationship to Foghorn that Dawg is referring to when he talks about his "old lady"?  The story begins with Foghorn being forced by his domineering wife to remain in the henhouse to sit on an egg that is about to hatch while his wife goes out to play bridge. The hen warns Foghorn not to leave the egg unattended or he'll get a lot of lumps on his head, to which Foghorn replies: "No, dreamboat" but then changes "dreamboat" to "tugboat" when the hen is out of earshot. The Dawg sees that Foghorn cannot leave and takes advantage of the situation by lobbing a watermelon at him, which breaks over Foghorn's head. As Foghorn gets up to retaliate, the Dawg states that Foghorn better not leave the egg, or the Dawg can tell Foghorn's "old lady" that he left. Foghorn then figures that he needs to find someone to sit on the egg for him, so that he can exact revenge on the Dawg. Henery, dressed as an Indian, is hunting for chickens when he spots Foghorn in the henhouse. Henery shoots him with a toy arrow, causing Foghorn to shriek. Foghorn turns the tables on Henery by telling him that he needs to hunt a chicken his own size, like the one in the unhatched egg. Foghorn leads Henery to believe that he can have the chicken once it hatches, but tells Henery he need to sit on the egg first to keep it warm. Free from his commitment, Foghorn goes to the Dawg's house and spanks him with a wooden plank, then as the Dawg attempts to give chase, Foghorn traps him in the stocks and then places light bulbs around the Dawg's head. Foghorn then flips and electrical switch and the lights begin to blink, then the words "Eat At Joe's" appear in the Dawg's nose, as if it were a neon sign.
****
[A]: his wife


[Q]: Found the following article online, use it to answer the question: Whose from whose later years included a pastoral cantata?  Temperley writes: "After 1855 [Bennett] was spurred by belated honours, and occasional commissions, to compose a respectable number of significant and substantial works, though it was too late to recapture his early self-confidence." Works from his later years included the cello Sonata Duo for Piatti; a pastoral cantata, The May Queen, Op. 39, for the opening of the Leeds Town Hall in 1858; an Ode (Op. 40) with words by Alfred, Lord Tennyson for the opening of the 1862 International Exhibition in London; an Installation Ode for Cambridge University (Op. 41) with words by Charles Kingsley, which included a lament for the late Prince Albert; a symphony in G minor (Op. 43); a sacred cantata,The Woman of Samaria for the Birmingham Triennial Music Festival of 1867; and finally a second Piano Sonata (The Maid of Orleans, Op. 46). Many of these works were composed during his summer holidays which were spent at Eastbourne. The Ode for the Exhibition was the cause of a further imbroglio with Costa, who although in charge of music for the Exhibition refused to conduct anything by Bennett. Eventually it was conducted by Prosper Sainton, between works by Meyerbeer and Daniel Auber also commissioned for the occasion. The affair leaked into the press, and Costa was widely condemned for his behaviour.In March 1856 Bennett, while still teaching at the RAM and Queen's College, was elected Professor of Music at the University of Cambridge. He modernised the system of awarding music degrees, instituting viva voce examinations and requiring candidates for doctorates to first take the degree of Bachelor of Music. Two years later on 8 June 1868 the newly formed (later Royal) College of Organists awarded him an Honorary Fellowship.In 1858 came yet another clash involving Costa, when the autocratic Earl of Westmorland, the original founder of the RAM, saw fit to arrange a subscription concert for the Academy to include a Mass of his own composition, to be conducted by Costa and using the orchestra and singers of the Opera, over the...
****
[A]: Bennett


[Q]: Found the following article online, use it to answer the question: What is the last name of the person who switches identities with Paul?  Carl Schaffner is a crooked British (previously German) businessman who flees to Mexico after stealing company funds. While travelling by train, Schaffner decides to evade authorities. He drugs and switches identities with fellow train passenger Paul Scarff, who looks like him and has a Mexican passport. He throws Paul Scarff off the train, injuring Scarff. Carl later discovers that Scarff is wanted in Mexico as a political assassin. Carl then tracks down Scarff, who is resting from his injuries, to get back his original passport. Carl arrives in Mexico and is captured by the local police, who mistake him for Scarff. Carl then fights to show his true identity to the local police.  The plan seems foolproof until he is forced to care for the dog of Scarff's dog. The local police chief and Scotland Yard inspector Hadden conspire to keep him trapped in the Mexican border town of Katrina in an effort to get him to cross the bridge back into the U.S. and face justice. The misanthropic Schaffner has grown attached to Scarff's pet spaniel and is tricked into going across the dividing line of the bridge to get the dog. He is accidentally killed trying to escape the authorities. The final irony is that the discovery of his own humanity has cost the cynical, friendless Schaffner his life.
****
[A]:
Schaffner