Problem: Given the question: Who answered the phone when Evan Sanders calls Amanda's phone?  Answer the above question based on the context below:  At the office where they work together, acting sales manager Evan Sanders talks to his slacker friend and coworker Tim about an upcoming presentation for the Phallucite account. After an awkward moment between Evan and head of HR Amanda in the break room, Tim explains to coworkers Andrew and Mike that Amanda said "I love you" to Evan and Evan's response was, "no." After encounters with the janitor and Frank the security guard, intern Jack is killed while taking trash to the dumpster. Branch president Ted Plunkett passes over Evan for a promotion and instead hires Max Phillips as the new sales manager. Max went to college with Evan and Tim, but Evan had him kicked out after Max slept with his girlfriend. Max moves into Evan's office and starts hitting on Amanda. In the office alone playing video games after hours, Mike is killed in one of the bathroom stalls. Evan finds Mike's body in the morning, but it is gone by the time he alerts everyone. Max secretly turns office employee Dave into a vampire. Formerly passive Dave becomes aggressive in demanding that everyone pay what is owed to the office sports betting pool. Anxious to complete his Phallucite presentation, Evan uses Zabeth, who harbors a crush on him, to retrieve files from the basement. Zabeth is attacked and turned into a vampire. Evan convinces Andrew to work late with him. Andrew goes to the basement and is attacked by Zabeth. Meanwhile, Evan searches Max's office, finding photos of Amanda and personnel files where each employee photograph is marked with an x, circle, or check. Andrew returns upstairs and seemingly drops dead in front of Evan. Evan hides in a supply closet. Determining that Max is behind the murders, Evan calls Amanda with a warning, but Max answers her phone and taunts him. Evan eventually passes out.
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The answer is:
Max Phillips
input question: What is the name of the person who claims to have "heard music before, heard father play the violin and cornet" and "heard mother singing" when describing how he was introduced to music?  Answer the above question based on the context below:  Nielsen was born the seventh of twelve children to a poor peasant family on 9 June 1865 at Sortelung near Nørre Lyndelse, south of Odense on the island of Funen. His father, Niels Jørgensen, was a house painter and traditional musician who, with his abilities as a fiddler and cornet player, was in strong demand for local celebrations. Nielsen described his childhood in his autobiography Min Fynske Barndom (My Childhood on Funen). His mother, whom he recalls singing folk songs during his childhood, came from a well-to-do family of sea captains while one of his half-uncles, Hans Andersen (1837–1881), was a talented musician.Nielsen gave an account of his introduction to music: "I had heard music before, heard father play the violin and cornet, heard mother singing, and, when in bed with the measles, I had tried myself out on the little violin". He had received the instrument from his mother when he was six. He learned the violin and piano as a child and wrote his earliest compositions at the age of eight or nine: a lullaby, now lost, and a polka which the composer mentioned in his autobiography. As his parents did not believe he had any future as a musician, they apprenticed him to a shopkeeper from a nearby village when he was fourteen; the shopkeeper went bankrupt by midsummer and Nielsen had to return home. After learning to play brass instruments, on 1 November 1879 he became a bugler and alto trombonist in the band of the army's 16th Battalion at nearby Odense.Nielsen did not give up the violin during his time with the battalion, continuing to play it when he went home to perform at dances with his father. The army paid him three kroner and 45 øre and a loaf of bread every five days for two and a half years, after which his salary was raised slightly, enabling him to buy the civilian clothes he needed to perform at barn dances.???
output answer: Nielsen
Please answer this: What is the full name of the person, who using a German text, included some period instrumentation?  Answer the above question based on the context below:  After the publication of the L'Orfeo score in 1609, the same publisher (Ricciardo Amadino of Venice) brought it out again in 1615. Facsimiles of these editions were printed in 1927 and 1972 respectively. Since Eitner's first "modern" edition of L'Orfeo in 1884, and d'Indy's performing edition 20 years later—both of which were abridged and adapted versions of the 1609 score—there have been many attempts to edit and present the work, not all of them published. Most of the editions that followed d'Indy up to the time of the Second World War were arrangements, usually heavily truncated, that provided a basis for performances in the modern opera idiom. Many of these were the work of composers, including Carl Orff (1923 and 1939) and Ottorino Respighi in 1935. Orff's 1923 score, using a German text, included some period instrumentation, an experiment he abandoned when producing his later version.In the post-war period, editions have moved increasingly to reflect the performance conventions of Monteverdi's day. This tendency was initiated by two earlier editions, that of Jack Westrup used in the 1925 Oxford performances, and Gian Francesco Malipiero's 1930 complete edition which sticks closely to Monteverdi's 1609 original. After the war, Hindemith's attempted period reconstruction of the work was followed in 1955 by an edition from August Wenzinger that remained in use for many years. The next 30 years saw numerous editions, mostly prepared by scholar-performers rather than by composers, generally aiming towards authenticity if not always the complete re-creation of the original instrumentation. These included versions by Raymond Leppard (1965), Denis Stevens (1967), Nikolaus Harnoncourt (1969), Jane Glover (1975), Roger Norrington (1976) and John Eliot Gardiner. Only the composers Valentino Bucchi (1967), Bruno Maderna (1967) and Luciano Berio (1984) produced editions based on the convention of a large modern orchestra. In the 21st century editions continue to be produced, often for use in conjunction with a...
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Answer:
Carl Orff