Please answer this: Given the following context:  Despite his lack of experience in composing film music, Prokofiev began his Kijé score confidently, later writing: "I somehow had no doubts whatever about the musical language for the film". He told the producers, "What is important to me is the era, the internal meaning of each event, the personality of each hero", and warned them not to expect mere musical "illustrations". He attended rehearsals and made detailed notes of the action and the acting. The period setting of the film appealed to Prokofiev; Robinson comments that the Kijé score is one of several works, including the Classical Symphony, The Love of Three Oranges, Cinderella, and War and Peace, that show "the composer's fondness for the eighteenth century". The language he chose combined elements of humour and romance with an underlying melancholy—he interpreted the story as more tragic than comic. Prokofiev had heard Ravel's Boléro in Paris, and had been much impressed by the French composer's use of the saxophone, an instrument then rarely used in orchestral compositions outside France but which suited Prokofiev's intentions perfectly. The composer Gerard McBurney has pointed out the "haunting sounds of the tenor saxophone" that punctuate the Kijé music.The critic Ernest Chapman refers to Prokofiev's "unfailingly witty and melodious score". It comprises only about 15 minutes of music, written as a series of 16 short fragments or leitmotifs which are repeated at appropriate times during the film's duration, to highlight specific moments in the drama. This approach was a departure in film music from the established form of broad symphonic movements, and was described by Prokofiev's biographer Daniel Jaffé as "well ahead of its time ... one of the most celebrated [film scores] of that era".  answer the following question:  What are the names of the five works that showed Prokofiev's fondness for the eighteenth century?
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Answer: Cinderella


Please answer this: Given the following context:  The critical reception to the album was generally favourable. Based on 40 reviews, review aggregate website Metacritic reported a rating of 78 out of 100. There were mixed comments about the ballads; two reviewers noted a disparity between the energy of the ballads to different songs. Drowned in Sound commented that, "ballads remain a strong suit, particularly the easy grace of the title track, but more often than not sit awkwardly next to the more toothsome numbers and feel under-produced by comparison" with similar comments from AllMusic who said, "Made in the Dark's main weakness might be its ballads, but that may just be in comparison to its many energetic moments, which are so addictive that it feels like a forced come-down whenever the band slows things down." However, The Observer gave a positive evaluation of the ballads; "Hot Chip have had a happy way with a subliminal power ballad. And Made in the Dark can boast four of the best." Pitchfork described it as a "patchy, turbulent record" due to the use of many different individual components and also said that it was a "good record but not a great one". Martin responded to the criticism made by Pitchfork: I think the fact that we've managed to be successful, in getting good chart positions in the U.K. and at the same time making a record that is actually quite weird and confusing to even a site like Pitchfork—the guy doesn't seem to actually get what we're trying to do—it's kind of cool to me. Pitchfork, despite their initial rating, went on to list the album number 23 on their list of the fifty best albums of 2008, and would later state that "its bold charms have lent it a fond longevity." Another element that caused mixed reception was the use of a Todd Rundgren sample in "Shake a Fist", which musicOMH called "delightful" but The Guardian described it as grating. musicOMH, whose description of the album was positive, said that tracks "Ready for the Floor" and "Bendable Poseable" had elements reminiscent of previous album The Warning. The Times said...  answer the following question:  What is the exact name of the title track described by Drowned in Sound as having easy grace?
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Answer: Made in the Dark


Please answer this: Given the following context:  As an artist, Francis Bacon was a late starter. He painted sporadically and without commitment during the late 1920s and early 1930s, when he worked as an interior decorator and designer of furniture and rugs. He later admitted that his career was delayed because he had spent so long looking for a subject that would sustain his interest. He began to paint images based on the Crucifixion in 1933, when his then-patron Eric Hall commissioned a series of three paintings based on the subject. These abstract figurations contain formal elements typical of their time, including diaphanous forms, flat backgrounds, and surrealist props such as flowers and umbrellas. The art critic Wieland Schmied noted that while the early works are "aesthetically pleasing", they lack "a sense of urgency or inner necessity; they are beautiful, but lifeless". The sentiment is echoed by Hugh Davies, who wrote that Bacon's 1933 paintings "suggest an artist concentrating more on formal than on expressive concerns". Bacon admitted that his early works were not successful; they were merely decorative and lacking in substance. He was often harshly self-critical during this period, and would abandon or destroy canvasses before they were completed. He abandoned the Crucifixion theme, then largely withdrew from painting in frustration, instead immersing himself in love affairs, drinking and gambling.When he returned to the topic of the Crucifixion eleven years later, he retained some of the stylistic elements he had developed earlier, such as the elongated and dislocated organic forms that he now based on Oresteia. He continued to incorporate the spatial device he was to use many times throughout his career—three lines radiating from this central figure, which was first seen in Crucifixion, 1933. Three Studies was painted over the course of two weeks in 1944, when, Bacon recalled, "I was in a bad mood of drinking, and I did it under tremendous hangovers and drink; I sometimes hardly knew what I was doing. I think perhaps the drink helped me to...  answer the following question:  What is the spatial device Bacon continued to incorporate and used many times throughout his career?
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Answer:
three lines radiating from this central figure