input question: The following article contains an answer for the question: What is the full name of of the composer who let one of his symphony's be dictated by Psalm 68? , can you please find it?   Rachmaninoff's choral symphony The Bells reflected the four-part progression from youth to marriage, maturity, and death in Poe's poem. Britten reversed the pattern for his Spring Symphony—the four sections of the symphony represent, in its composer's words, "the progress of Winter to Spring and the reawakening of the earth and life which that means.... It is in the traditional four movement shape of a symphony, but with the movements divided into shorter sections bound together by a similar mood or point of view."The gestation of Shostakovich's Thirteenth Symphony, Babi Yar, was only slightly less straightforward. He set the poem Babi Yar by Yevgeny Yevtushenko almost immediately upon reading it, initially considering it a single-movement composition. Discovering three other Yevtushenko poems in the poet's collection Vzmakh ruki (A Wave of the Hand) prompted him to proceed to a full-length choral symphony, with "A Career" as the closing movement. Musicologist Francis Maes comments that Shostakovich did so by complementing Babi Yar's theme of Jewish suffering with Yevtushenko's verses about other Soviet abuses: "'At the Store' is a tribute to the women who have to stand in line for hours to buy the most basic foods,... 'Fears' evokes the terror under Stalin. 'A Career' is an attack on bureaucrats and a tribute to genuine creativity". Music historian Boris Schwarz adds that the poems, in the order Shostakovich places them, form a strongly dramatic opening movement, a scherzo, two slow movements and a finale.In other cases, the choice of text has led the composer to different symphonic structures. Havergal Brian allowed the form of his Fourth Symphony, subtitled "Das Siegeslied" (Psalm of Victory), to be dictated by the three-part structure of his text, Psalm 68; the setting of Verses 13–18 for soprano solo and orchestra forms a quiet interlude between two wilder, highly chromatic martial ones set for massive choral and orchestral forces. Likewise, Szymanowski allowed the text by 13th-century Persian poet Rumi...???
output answer: Havergal Brian

input question: The following article contains an answer for the question: What were the full names of the two people who met at Chetham's Library? , can you please find it?   Manchester has a notable place in the history of Marxism and left-wing politics; being the subject of Friedrich Engels' work The Condition of the Working Class in England in 1844; Engels spent much of his life in and around Manchester, and when Karl Marx visited Manchester, they met at Chetham's Library. The economics books Marx was reading at the time can be seen in the library, as can the window seat where Marx and Engels would meet. The first Trades Union Congress was held in Manchester (at the Mechanics' Institute, David Street), from 2 to 6 June 1868. Manchester was an important cradle of the Labour Party and the Suffragette Movement.At that time, it seemed a place in which anything could happen—new industrial processes, new ways of thinking (the Manchester School, promoting free trade and laissez-faire), new classes or groups in society, new religious sects, and new forms of labour organisation. It attracted educated visitors from all parts of Britain and Europe. A saying capturing this sense of innovation survives today: "What Manchester does today, the rest of the world does tomorrow." Manchester's golden age was perhaps the last quarter of the 19th century. Many of the great public buildings (including Manchester Town Hall) date from then. The city's cosmopolitan atmosphere contributed to a vibrant culture, which included the Hallé Orchestra. In 1889, when county councils were created in England, the municipal borough became a county borough with even greater autonomy. Although the Industrial Revolution brought wealth to the city, it also brought poverty and squalor to a large part of the population. Historian Simon Schama noted that "Manchester was the very best and the very worst taken to terrifying extremes, a new kind of city in the world; the chimneys of industrial suburbs greeting you with columns of smoke". An American visitor taken to Manchester's blackspots saw "wretched, defrauded, oppressed, crushed human nature, lying and bleeding fragments".The number of cotton mills in Manchester itself...???
output answer: Friedrich Engels

input question: The following article contains an answer for the question: What is the name of the composer without whose presence, according to Anthony Hicks, so unusual a project would not have been attempted? , can you please find it?   Dean and Knapp record that in early 1707 Keiser surrendered the lease of the Gänsemarkt to Johann Heinrich Sauerbrey, who thus became responsible for the staging of the double opera. It may by this time have been in rehearsal, and the difficulties involved in such a complex and elaborate work may have necessitated several postponements. The consensus among experts is that the two parts were first performed on consecutive evenings in January 1708, as they are the first works in Mattheson's opera list for 1708. There are no surviving records of the public's reception, the length of the original run, or of any revivals. Whether Handel was present at any time during rehearsals or performance is uncertain; he may have returned from Italy, fresh from the opening of Rodrigo in Florence, to supervise the production of Florindo and Daphne in Hamburg. Dean and Knapp suggest the works may have been directed from the harpsichord by Christoph Graupner, although Anthony Hicks in his Grove Handel biography, says that so unusual a project would not have been attempted without the composer's presence.The theatre's management was clearly concerned that the public might find the double opera too heavy in undiluted form. Accordingly, a comic intermezzo in Low German dialect (platte-deutsch) was devised by Sauerbrey to precede the performance of Daphne. The critic and essayist Romain Rolland, in his life of Handel, termed this a "mutilation", carried out "for fear that the music may tire the hearers".???
output answer:
Handel