What is the last name of the person who demonstrated his musical abilities at an early age?  Answer the above question based on the context below:  Carl August Nielsen (Danish: [kɑːl ˈnelsn̩]; 9 June 1865 – 3 October 1931) was a Danish musician, conductor and violinist, widely recognized as his country's most prominent composer. Brought up by poor yet musically talented parents on the island of Funen, he demonstrated his musical abilities at an early age. He initially played in a military band before attending the Royal Danish Academy of Music in Copenhagen from 1884 until December 1886. He premiered his Op. 1, Suite for Strings, in 1888, at the age of 23. The following year, Nielsen began a 16-year stint as a second violinist in the Royal Danish Orchestra under the conductor Johan Svendsen, during which he played in Giuseppe Verdi's Falstaff and Otello at their Danish premieres. In 1916, he took a post teaching at the Royal Danish Academy and continued to work there until his death. Although his symphonies, concertos and choral music are now internationally acclaimed, Nielsen's career and personal life were marked by many difficulties, often reflected in his music. The works he composed between 1897 and 1904 are sometimes ascribed to his "psychological" period, resulting mainly from a turbulent marriage with the sculptor Anne Marie Brodersen. Nielsen is especially noted for his six symphonies, his Wind Quintet and his concertos for violin, flute and clarinet. In Denmark, his opera Maskarade and many of his songs have become an integral part of the national heritage. His early music was inspired by composers such as Brahms and Grieg, but he soon developed his own style, first experimenting with progressive tonality and later diverging even more radically from the standards of composition still common at the time. Nielsen's sixth and final symphony, Sinfonia semplice, was written in 1924–25. He died from a heart attack six years later, and is buried in Vestre Cemetery, Copenhagen. Nielsen maintained the reputation of a musical outsider during his lifetime, both in his own country and internationally. It was only later that his works firmly entered the...
Ans: Nielsen

What is the full name of the person that replaced Boult as the conductor of the LPO?  Answer the above question based on the context below:  In 1952 the LPO negotiated a five-year contract with Decca Records, which was unusually rewarding for the orchestra, giving it a 10 per cent commission on most sales. On top of this, Boult always contributed his share of the recording fees to the orchestra's funds. In the same year, the LPO survived a crisis when Russell was dismissed as its managing director. He was an avowed member of the Communist party; when the cold war began some influential members of the LPO felt that Russell's private political affiliations compromised the orchestra, and pressed for his dismissal. Boult, as the orchestra's chief conductor, stood up for Russell, but when matters came to a head Boult ceased to protect him. Deprived of that crucial support, Russell was forced out. Kennedy speculates that Boult's change of mind was due to a growing conviction that the orchestra would be "seriously jeopardized financially" if Russell remained in post.  A later writer, Richard Witts, suggests that Boult sacrificed Russell because he believed doing so would enhance the LPO's chance of being appointed resident orchestra at the Royal Festival Hall.In 1953 Boult once again took charge of the orchestral music at a coronation, conducting an ensemble drawn from UK orchestras at the coronation of Elizabeth II. During the proceedings, he conducted the first performances of Bliss's Processional and Walton's march Orb and Sceptre.  In the same year he returned to the Proms after a three-year absence, conducting the LPO. The notices were mixed: The Times found a Brahms symphony "rather colourless, imprecise and uninspiring", but praised Boult and the orchestra's performance of The Planets. In the same year the orchestra celebrated its 21st birthday, giving a series of concerts at the Festival Hall and the Royal Albert Hall in which Boult was joined by guest conductors including Paul Kletzki, Jean Martinon,  Hans Schmidt-Isserstedt, Georg Solti, Walter Susskind and Vaughan Williams.In 1956 Boult and the LPO visited Russia. Boult had not wished to go on...
Ans: William Steinberg

What is the name of the person that designed the plaque at Saint Fin Barre?  Answer the above question based on the context below:  Burges died, aged 53, in his Red Bed at the Tower House, at 11.45 p.m. on Wednesday 20 April 1881. While on a tour of works at Cardiff, he caught a chill and returned to London, half-paralysed, where he lay dying for some three weeks. Among his last visitors were Oscar Wilde and James Whistler. He was buried in the tomb he designed for his mother at West Norwood, London. On his death, John Starling Chapple, Burges's office manager and close associate for more than twenty years, wrote "a constant relationship ... with one of the brightest ornaments of the profession has rendered the parting most severe. Thank God his work will live and ... be the admiration of future students. I have hardly got to realize my lonely position yet. He was almost all the world to me." Lady Bute, wife of his greatest patron, wrote, "Dear Burges, ugly Burges, who designed such lovely things – what a duck." In Saint Fin Barre's, together with memorials to his mother and sister, there is a memorial plaque to Burges, designed by him, and erected by his father. It shows the King of Heaven presiding over the four apostles, who hold open the Word of God. Under the inscription "Architect of this cathedral" is a simple shield and a small, worn, plaque with a mosaic surround, bearing Burges's entwined initials and name. Legal complications obstructed Burges's wish to be buried in the cathedral he had built. Burges's own words on Saint Fin Barre's, in his letter of January 1877 to the Bishop of Cork, sum up his career, "Fifty years hence, the whole affair will be on its trial and, the elements of time and cost being forgotten, the result only will be looked at. The great questions will then be, first, is this work beautiful and, secondly, have those to whom it was entrusted, done it with all their heart and all their ability."
Ans: Burges