Given the following context:  The Mozart family grand tour was a journey through western Europe, undertaken by Leopold Mozart, his wife Anna Maria, and their musically gifted children Maria Anna (Nannerl) and Wolfgang Amadeus from 1763 to 1766. At the start of the tour the children were aged eleven and seven respectively. Their extraordinary skills had been demonstrated during a visit to Vienna in 1762, when they had played before the Empress Maria Theresa at the Imperial Court. Sensing the social and pecuniary opportunities that might accrue from a prolonged trip embracing the capitals and main cultural centres of Europe, Leopold obtained an extended leave of absence from his post as deputy Kapellmeister to the Prince-Archbishopric of Salzburg. Throughout the subsequent tour, the children's Wunderkind status was confirmed as their precocious performances consistently amazed and gratified their audiences. The first stage of the tour's itinerary took the family, via Munich and Frankfurt, to Brussels and then on to Paris where they stayed for five months. They then departed for London, where during a stay of more than a year Wolfgang made the acquaintance of some of the leading musicians of the day, heard much music, and composed his first symphonies. The family then moved on to the Netherlands, where the schedule of performances was interrupted by the illnesses of both children, although Wolfgang continued to compose prolifically. The homeward phase incorporated a second stop in Paris and a trip through Switzerland, before the family's return to Salzburg in November 1766. The material rewards of the tour, though reportedly substantial, did not transform the family's lifestyle, and Leopold continued in the Prince-Archbishop's service. However, the journey enabled the children to experience to the full the cosmopolitan musical world, and gave them an outstanding education. In Wolfgang's case this would continue through further journeys in the following six years, prior to his appointment by the Prince-Archbishop as a court musician.  answer the following question:  What position did the son of the man in service to the Prince-Archbishop get appointed to?
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Answer: court musician


Given the following context:  Though generally a commentator rather than a campaigner, Lancaster made an exception for the protection of Britain's architectural heritage, where he became a leader of public opinion. The historian Jerry White has written that the demolition of the Euston Arch in London in 1962 alerted the general public that "without vigilance and sturdy resistance, London was in danger of losing its landmarks one by one, in the interests of either profit or a misconceived public weal". Lancaster had been pressing this point since before the war. In 1967 he was appointed to the Greater London Council's Historic Buildings advisory committee, joining Betjeman, Pevsner and Sir John Summerson. They played a major role in defeating the Labour government's plans to demolish the front of the Tate Gallery. In 1973, with Betjeman and others of like mind Lancaster campaigned against the Conservative government's imposition of entry charges to hitherto free galleries and museums; the charges caused admissions to drop drastically, and were soon abolished.In June 1975 Lancaster was knighted in the Queen's Birthday Honours. He and his wife collaborated on The Pleasure Garden (1977), a history of the British garden. Although great gardens such as Stowe were given full coverage, her text and his drawings did not neglect more modest efforts: "The suburban garden is the most important garden of the 20th century and there is no excuse other than ignorance for using the word 'suburban' in a derogatory sense". The following year Lancaster was made a Royal Designer for Industry (RDI) by the Royal Society of Arts, a distinction in which his predecessors had included the artist and architect Hugh Casson; the typographer Eric Gill; Charles Holden, London Transport's architect; Barnes Wallis, the wartime engineer; and a modernist architect with whom Lancaster had vigorously crossed swords, Sir Basil Spence. There would not be another theatre designer RDI until Stefanos Lazaridis in 2003. In 1978 Lancaster suffered the first of a series of strokes,...  answer the following question:  Who played a major role in defeating the Labour government's plans to demolish the front of the Tate Gallery?
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Answer: Lancaster


Given the following context:  Philip Arnold Heseltine (30 October 1894 – 17 December 1930), known by the pseudonym Peter Warlock, was a British composer and music critic. The Warlock name, which reflects Heseltine's interest in occult practices, was used for all his published musical works. He is best known as a composer of songs and other vocal music; he also achieved notoriety in his lifetime through his unconventional and often scandalous lifestyle. As a schoolboy at Eton College, Heseltine met the British composer Frederick Delius, with whom he formed a close friendship. After a failed student career in Oxford and London, Heseltine turned to musical journalism, while developing interests in folk-song and Elizabethan music. His first serious compositions date from around 1915. Following a period of inactivity, a positive and lasting influence on his work arose from his meeting in 1916 with the Dutch composer Bernard van Dieren; he also gained creative impetus from a year spent in Ireland, studying Celtic culture and language. On his return to England in 1918, Heseltine began composing songs in a distinctive, original style, while building a reputation as a combative and controversial music critic.  During 1920–21 he edited the music magazine The Sackbut. His most prolific period as a composer came in the 1920s, when he was based first in Wales and later at Eynsford in Kent. Through his critical writings, published under his own name, Heseltine made a pioneering contribution to the scholarship of early music. In addition, he produced a full-length biography of Frederick Delius and wrote, edited, or otherwise assisted the production of several other books and pamphlets. Towards the end of his life, Heseltine became depressed by a loss of his creative inspiration. He died in his London flat of coal gas poisoning in 1930, probably by his own hand.  answer the following question:  What is the first name of the person who turned to musical journalism after a failed student career in Oxford and London?
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Answer:
Philip