The answer to the question: Who buried the cannons and burned the colony's buildings? is inside the article: The French colonization of Texas began with the establishment of a fort in present-day southeastern Texas. It was established in 1685 near Arenosa Creek and Matagorda Bay by explorer Robert Cavelier de La Salle. He intended to found the colony at the mouth of the Mississippi River, but inaccurate maps and navigational errors caused his ships to anchor instead 400 miles (640 km) to the west, off the coast of Texas. The colony survived until 1688. The present-day town of Inez is near the fort's site. The colony faced numerous difficulties during its brief existence, including Native American raids, epidemics, and harsh conditions. From that base, La Salle led several expeditions to find the Mississippi River. These did not succeed, but La Salle did explore much of the Rio Grande and parts of east Texas. During one of his absences in 1686, the colony's last ship was wrecked, leaving the colonists unable to obtain resources from the French colonies of the Caribbean. As conditions deteriorated, La Salle realized the colony could survive only with help from the French settlements in Illinois Country to the north, along the Mississippi and Illinois Rivers. His last expedition ended along the Brazos River in early 1687, when La Salle and five of his men were murdered during a mutiny. Although a handful of men reached Illinois Country, help never made it to the fort. Most of the remaining members of the colony were killed during a Karankawa raid in late 1688, four children survived after being adopted as captives. Although the colony lasted only three years, it established France's claim to possession of the region that is now Texas. The United States later claimed, unsuccessfully, this region as part of the Louisiana Purchase because of the early French colony. Spain learned of La Salle's mission in 1686. Concerned that the French colony could threaten Spain's control over the Viceroyalty of New Spain and the unsettled southeastern region of North America, the Crown funded multiple expeditions to locate and eliminate..., can you guess it ?
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Answer: the Spanish


The answer to the question: What is the last name of the person who obtained an extended leave of absence? is inside the article: 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., can you guess it ?
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Answer: Mozart


The answer to the question: Whose piece is now called the Festive Symphony? is inside the article: Dissatisfied with his first large-scale orchestral work, the D major Overture of 1848, Smetana studied passages from Beethoven, Mendelssohn, Weber and Berlioz before producing his Triumphal Symphony of 1853. Though this is dismissed by Rosa Newmarch as "an epithalamium for a Habsburg Prince", Smetana's biographer Brian Large identifies much in the piece that characterises the composer's more mature works. Despite the symphony's rejection by the Court and the lukewarm reception on its premiere, Smetana did not abandon the work. It was well received in Gothenburg in 1860, and a revised version was performed in Prague in 1882, without the "triumphal" tag, under Adolf Čech. The piece is now sometimes called the Festive Symphony. Smetana's visit to Liszt at Weimar in the summer of 1857, where he heard the latter's Faust Symphony and Die Ideale, caused a material reorientation of Smetana's orchestral music. These works gave Smetana answers to many compositional problems relating to the structure of orchestral music, and suggested a means for expressing literary subjects by a synthesis between music and text, rather than by simple musical illustration. These insights enabled Smetana to write the three Gothenburg symphonic poems, (Richard III, Wallenstein's Camp and Hakon Jarl), works that transformed Smetana from a composer primarily of salon pieces to a modern neo-Romantic, capable of handling large-scale forces and demonstrating the latest musical concepts. From 1862 Smetana was largely occupied with opera and, apart from a few short pieces, did not return to purely orchestral music before beginning Má vlast in 1872. In his introduction to the Collected Edition Score, František Bartol brackets Má vlast with the opera Libuše as "direct symbols of [the] consummating national struggle". Má vlast is the first of Smetana's mature large-scale works that is independent of words, and its musical ideas are bolder than anything he had tried before. To musicologist John Clapham, the cycle presents "a cross-section of Czech..., can you guess it ?
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Answer:
Smetana