Q: The following article contains an answer for the question: What is the full name of the person who gave only five of the seven movements when The Planets was performed at its first hearing? , can you please find it?   Holst was given a spectacular send-off. The conductor Adrian Boult recalled, "Just before the Armistice, Gustav Holst burst into my office: 'Adrian, the YMCA are sending me to Salonica quite soon and Balfour Gardiner, bless his heart, has given me a parting present consisting of the Queen's Hall, full of the Queen's Hall Orchestra for the whole of a Sunday morning. So we're going to do The Planets, and you've got to conduct'." There was a burst of activity to get things ready in time. The girls at St Paul's helped to copy out the orchestral parts, and the women of Morley and the St Paul's girls learned the choral part in the last movement.The performance was given on 29 September to an invited audience including Sir Henry Wood and most of the professional musicians in London. Five months later, when Holst was in Greece, Boult introduced The Planets to the general public, at a concert in February 1919; Holst sent him a long letter full of suggestions, but failed to convince him that the suite should be played in full. The conductor believed that about half an hour of such radically new music was all the public could absorb at first hearing, and he gave only five of the seven movements on that occasion.Holst enjoyed his time in Salonica, from where he was able to visit Athens, which greatly impressed him. His musical duties were wide-ranging, and even obliged him on occasion to play the violin in the local orchestra: "it was great fun, but I fear I was not of much use". He returned to England in June 1919.
A: Adrian Boult

Q: The following article contains an answer for the question: What is the first name of the person whose only large nude was never exhibited in his lifetime and remained in private hands until 1847? , can you please find it?   The painting shows the moment from Summer in which Musidora, having removed the last of her clothes, steps into "the lucid coolness of the flood" to "bathe her fervent limbs in the refreshing stream". Damon is not shown; instead, Etty illustrates the scene from Damon's viewpoint. By placing the audience in Damon's position, Etty aimed to induce the same reactions in the viewer as Damon's dilemma as described by Thomson; that of whether to enjoy the spectacle despite knowing it to be inappropriate, or to follow the accepted morality of the time and look away, in what art historian Sarah Burnage has described as "a titillating moral test for spectators to both enjoy and overcome".The pose of Musidora is based on that of the Aphrodite of Cnidus and the Venus de' Medici. It is possible that Etty was also familiar with Thomas Gainsborough's Musidora, which shares similar elements. Gainsborough's Musidora, his only large nude, was never exhibited in his lifetime and remained in private hands until 1847, but Etty was familiar with its then-owner Robert Vernon and may have seen it in his collection. The setting for the painting is a pool in the grounds of The Plantation, a house in the village of Acomb, near York. The Plantation was the home of his close friend and patron the Reverend Isaac Spencer, vicar of Acomb, and its grounds were a scene Etty had previously painted. In 1846 Etty bought a house in York for his retirement; Burnage speculates that Etty chose Acomb on the grounds that a view of York was quintessentially English.Although Etty had traditionally worked in the Venetian style of painting, with rich colours and detail, for Musidora he adopted a much softer and earthier palette, although his use of reflected light on flesh is derived from Venetian styles. He moved away from Rubens, who up to this time had been his greatest influence, and closer to the style of Titian. This is likely owing to the nature of the subject matter. Until then his history paintings had primarily been of themes of classical...
A: Thomas

Q: The following article contains an answer for the question: What was the full name of the person who painted four lunette murals? , can you please find it?   The Pennsylvania State Capitol houses the chambers for the Pennsylvania House of Representatives, the Pennsylvania Senate, and the Harrisburg chambers for the Supreme Court of Pennsylvania. The Capitol contains 475 rooms and has four floors, not including a mezzanine between the first and second floors, and a basement.  The bronze entrance doors of the capitol lead into the rotunda on the first floor with the grand staircase in the center. The staircase in the rotunda is an imperial staircase, similar to the one in the Palais Garnier in Paris, France. The staircase leads to the mezzanine between the first and second floors, before dividing into two staircases leading to the second floor. Edwin Austin Abbey painted four allegorical medallions around the base of the capitol dome, detailing the "four forces of civilization": Art, Justice, Science, and Religion. Four lunette murals were also painted by Abbey and "symbolize Pennsylvania's spiritual and industrial contributions to modern civilization". The lunettes are situated in the recesses of each arch in the rotunda. The rotunda is paved with tiles, hand-crafted by Henry Chapman Mercer, from the Moravian Pottery and Tile Works. Mercer produced 16,000 square feet (1,500 m2) of tile, which includes "377 mosaics, representing 254 scenes, artifacts, animals, birds, fish, insects, industries and workers from Pennsylvania history". The interiors of the rotunda and the dome are inscribed with a quote from William Penn made upon the foundation of the Commonwealth of Pennsylvania: There may be room there for such a holy experiment. For the nations want a precedent. And my God will make it the seed of a nation. That an example may be set up to the nations. That we may do the thing that is truly wise and just.
A:
Edwin Austin Abbey