[Q]: What is the last name of the person who showed artistic promise from an early age?  Answer the above question based on the context below:  William Etty was born in 1787 in York, the son of a miller and baker. He showed artistic promise from an early age, but his family were financially insecure, and at the age of 12 he left school to become an apprentice printer in Hull. On completing his seven-year indenture he moved to London "with a few pieces of chalk-crayons in colours", with the aim of emulating the Old Masters and becoming a history painter. Etty gained acceptance to the Royal Academy Schools in early 1807. After a year spent studying under renowned portrait painter Thomas Lawrence, Etty returned to the Royal Academy, drawing at the life class and copying other paintings. In 1821 the Royal Academy exhibited one of Etty's works, The Arrival of Cleopatra in Cilicia (also known as The Triumph of Cleopatra). The painting was extremely well received, and many of Etty's fellow artists greatly admired him. He was elected a full Royal Academician in 1828, ahead of John Constable. He became well respected for his ability to capture flesh tones accurately in painting and for his fascination with contrasts in skin tones. Following the exhibition of Cleopatra, Etty attempted to reproduce its success, concentrating on painting further history paintings containing nude figures. He exhibited 15 paintings at the Summer Exhibition in the 1820s (including Cleopatra), and all but one contained at least one nude figure. In so doing Etty became the first English artist to treat nude studies as a serious art form in their own right, capable of being aesthetically attractive and of delivering moral messages. Although some nudes by foreign artists were held in private English collections, Britain had no tradition of nude painting, and the display and distribution of nude material to the public had been suppressed since the 1787 Proclamation for the Discouragement of Vice. The supposed prurient reaction of the lower classes to his nude paintings caused concern throughout the 19th century. Many critics condemned his repeated depictions of female nudity as...
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[A]: Etty
input: Please answer the following: What is the last name of the person who wrote an autobiography in 1936?  Answer the above question based on the context below:  Lawrence Morton, in a study of the origins of The Rite, records that in 1907–08 Stravinsky set to music two poems from Sergey Gorodetsky's collection Yar. Another poem in the anthology, which Stravinsky did not set but is likely to have read, is "Yarila" which, Morton observes, contains many of the basic elements from which The Rite of Spring developed, including pagan rites, sage elders, and the propitiatory sacrifice of a young maiden: "The likeness is too close to be coincidental". Stravinsky himself gave contradictory accounts of the genesis of The Rite. In a 1920 article he stressed that the musical ideas had come first, that the pagan setting had been suggested by the music rather than the other way round. However, in his 1936 autobiography he described the origin of the work thus: "One day [in 1910], when I was finishing the last pages of L'Oiseau de Feu in St Petersburg, I had a fleeting vision ... I saw in my imagination a solemn pagan rite: sage elders, seated in a circle, watching a young girl dance herself to death. They were sacrificing her to propitiate the god of Spring. Such was the theme of the Sacre du Printemps".By May 1910 Stravinsky was discussing his idea with Nicholas Roerich, the foremost Russian expert on folk art and ancient rituals. Roerich had a reputation as an artist and mystic, and had provided the stage designs for Diaghilev's 1909 production of the Polovtsian Dances. The pair quickly agreed on a working title, "The Great Sacrifice" (Russian: Velikaia zhertva); Diaghilev gave his blessing to the work, although the collaboration was put on hold for a year while Stravinsky was occupied with his second major commission for Diaghilev, the ballet Petrushka.In July 1911 Stravinsky visited Talashkino, near Smolensk, where Roerich was staying with the Princess Maria Tenisheva, a noted patron of the arts and a sponsor of Diaghilev's magazine World of Art. Here, over several days, Stravinsky and Roerich finalised the structure of the ballet. Thomas F. Kelly, in his history of the Rite...
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output: Stravinsky
Problem: What society did the man who had poor command of the Czech language become chorus master of after returning from Sweden?  Answer the above question based on the context below:  In 1861, it was announced that a Provisional Theatre would be built in Prague, as a home for Czech opera. Smetana saw this as an opportunity to write and stage opera that would reflect Czech national character, similar to the portrayals of Russian life in Mikhail Glinka's operas. He hoped that he might be considered for the theatre's conductorship, but the post went to Jan Nepomuk Maýr, apparently because the conservative faction in charge of the project considered Smetana a "dangerous modernist", in thrall to avant garde composers such as Liszt and Wagner. Smetana then turned his attention to an opera competition, organised by Count Jan von Harrach, which offered prizes of 600 gulden each for the best comic and historical operas based on Czech culture. With no useful model on which to base his work—Czech opera as a genre scarcely existed—Smetana had to create his own style. He engaged Karel Sabina, his comrade from the 1848 barricades, as his librettist, and received Sabina's text in February 1862, a story of the 13th century invasion of Bohemia by Otto of Brandenburg. In April 1863 he submitted the score, under the title of The Brandenburgers in Bohemia. At this stage in his career, Smetana's command of the Czech language was poor. His generation of Czechs was educated in German, and he had difficulty expressing himself in what was supposedly his native tongue. To overcome these linguistic deficiencies he studied Czech grammar, and made a point of writing and speaking in Czech every day. He had become Chorus Master of the nationalistic Hlahol Choral Society soon after his return from Sweden, and as his fluency in the Czech language developed he composed patriotic choruses for the Society; The Three Riders and The Renegade were performed at concerts in early 1863. In March of that year Smetana was elected president of the music section of Umělecká Beseda, a society for Czech artists. By 1864 he was proficient enough in the Czech language to be appointed as music critic to the main Czech language newspaper...

A:
Hlahol Choral Society