Question: I have a test where I am given the following article, what is an answer for the question: What was the title of Nielsen's third cantata? ?  Nielsen's two operas are very different in style. The four-act Saul og David (Saul and David), written in 1902 to a libretto by Einar Christiansen, tells the Biblical story of Saul's jealousy of the young David while Maskarade (Masquerade) is a comic opera in three acts written in 1906 to a Danish libretto by Vilhelm Andersen, based on the comedy by Ludvig Holberg. Saul and David received a negative press when it was premiered in November 1902 and did no better when it was revived in 1904. By contrast, in November 1906 Masquerade was a resounding success with an exceptional run of 25 performances over its first four months. Generally considered to be Denmark's national opera, in its home country it has enjoyed lasting success and popularity, attributable to its many strophic songs, its dances and its underlying "old Copenhagen" atmosphere.Nielsen wrote a considerable number of choral works but most of them were composed for special occasions and were seldom reprised. Three fully-fledged cantatas for soloists, orchestra and choir have, however, entered the repertoire. Nielsen composed Hymnus amoris (Hymn of Love), Op. 12 (1897) after studying early polyphonic choral style.  Writing in the newspaper Dannebrog, Nanna Liebmann referred to the work as "a decisive victory" for Nielsen, and Angul Hammerich of Nationaltidende welcomed its improved clarity and purity. But the Berlingske Tidende reviewer H.W. Schytte thought Nielsen had been pretentious presenting the lyrics in Latin rather than Danish. Søvnen (The Sleep), Op. 18, Nielsen's second major choral work, sets to music the various phases of sleep including the terror of a nightmare in its central movement which, with its unusual discords, came as a shock to the reviewers at its premiere in March 1905. Fynsk Foraar (Springtime on Funen), Op. 42, completed in 1922, has been cited as the most Danish of all Nielsen's compositions as it extols the beauty of Funen's countryside.
Answer: Fynsk Foraar
[Q]: I have a test where I am given the following article, what is an answer for the question: What is the name of the person who rarely worked with Heseltine, although they had much in common? ?  At Eynsford, with Moeran as his co-tenant, Heseltine presided over a bohemian household with a flexible population of artists, musicians and friends. Moeran had studied at the Royal College of Music before and after the First World War; he avidly collected folk music and had admired Delius during his youth. Although they had much in common, he and Heseltine rarely worked together, though they did co-write a song, "Maltworms". The other permanent Eynsford residents were Barbara Peache, Heseltine's long-term girlfriend whom he had known since the early 1920s, and Hal Collins, a New Zealand Māori who acted as a general factotum. Peache was described by Delius's assistant Eric Fenby as "a very quiet, attractive girl, quite different from Phil's usual types". Although not formally trained, Collins was a gifted graphic designer and occasional composer, who sometimes assisted Heseltine. The household was augmented at various times by the composers William Walton and Constant Lambert, the artist Nina Hamnett, and sundry acquaintances of both sexes.The ambience at Eynsford was one of alcohol (the "Five Bells" public house was conveniently across the road) and uninhibited sexual activity. These years are the primary basis for the Warlock legends of wild living and debauchery. Visitors to the house left accounts of orgies, all-night drunken parties, and rough horseplay that at least once brought police intervention. However, such activities were mainly confined to weekends; within this unconventional setting Heseltine accomplished much work, including settings from the Jacobean dramatist John Webster and the modern poet Hilaire Belloc, and the Capriol Suite in versions for string and full orchestra. Heseltine continued to transcribe early music, wrote articles and criticism, and finished the book on Gesualdo. He attempted to restore the reputation of a neglected Elizabethan composer, Thomas Whythorne, with a long pamphlet which, years later, brought significant amendments to Whythorne's entry in The History of Music in...
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[A]: Moeran
input: Please answer the following: I have a test where I am given the following article, what is an answer for the question: What is the last name of the person whose limousine driver described him as "genuinely dumbfounded by the whole affair"? ?  The incident proved stressful for Hendrix, and it weighed heavily on his mind while he awaited trial. His limousine driver and a witness to the arrest, Louis Goldblatt, described him as "genuinely dumbfounded by the whole affair." Tour manager Eric Barrett said that he looked "as if there had been a plane crash". Hendrix biographers Harry Shapiro and Caesar Glebbeek described the incident as "a nightmare which ... plagued" him for seven months. According to Redding, "the bust knocked any positive feelings Jimi was holding onto out of him" and that he was in "agonised suspense" from the arrest until the trial. In 2012, Plummer wrote: "The real possibility of prison hung over Hendrix like a spectre ... a threat to his career and the cause of much brooding and rumination." Journalist Charles Shaar Murray asserted that the incident jeopardized what he described as "Hendrix's increasingly fragile peace of mind". Two weeks after the arrest, Hendrix told Lawrence: "Whatever I have done ... getting hooked on heroin is not one of them." He explained that his fear of needles discouraged him from using the drug and that having known junkies convinced him that it was not something he should get involved with. Soon after the story of his arrest became public, he drew a connection between the bust and anti-establishment sentiments: "All of that is the establishment fighting back ... Eventually, they will swallow themselves up, but I don't want them to swallow up too many kids as they go along."According to Shapiro and Glebbeek, in 1969 there was little confidence in the staying power of rock stars; it was assumed that their careers were going to be short, and industry insiders operated under a "take the money and run" mentality. For this reason, they speculated that had Hendrix been convicted it would have ended his music career. After the trial, his management announced to the British press that they were planning a farewell tour for the Experience. However, the US tour during which the arrest occurred was their last. The...
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output:
Hendrix