input: Please answer the following: What is the name of the piece Short says bears Holst's unmistakable imprint?  Answer the above question based on the context below:  Before his enforced rest in 1924, Holst demonstrated a new interest in counterpoint, in his Fugal Overture of 1922 for full orchestra and the neo-classical Fugal Concerto of 1923, for flute, oboe and strings. In his final decade he mixed song settings and minor pieces with major works and occasional new departures; the 1925 Terzetto for flute, violin and oboe, each instrument playing in a different key, is cited by Imogen as Holst's only successful chamber work. Of the Choral Symphony completed in 1924, Matthews writes that, after several movements of real quality, the finale is a rambling anticlimax. Holst's penultimate opera, At the Boar's Head (1924), is based on tavern scenes from Shakespeare's Henry IV, Parts 1 and 2. The music, which is largely derived from old English melodies gleaned from Cecil Sharp and other collections, has pace and verve; the contemporary critic Harvey Grace discounted the lack of originality, a facet which he said "can be shown no less convincingly by a composer's handling of material than by its invention".Egdon Heath (1927) was Holst's first major orchestral work after The Planets. Matthews summarises the music as "elusive and unpredictable [with] three main elements: a pulseless wandering melody [for strings], a sad brass processional, and restless music for strings and oboe." The mysterious dance towards the end is, says Matthews, "the strangest moment in a strange work". Richard Greene in Music & Letters describes the piece as "a larghetto dance in a siciliano rhythm with a simple, stepwise, rocking melody", but lacking the power of The Planets and, at times, monotonous to the listener. A more popular success was A Moorside Suite for brass band, written as a test piece for the National Brass Band Festival championships of 1928. While written within the traditions of north-country brass-band music, the suite, Short says, bears Holst's unmistakable imprint, "from the skipping 6/8 of the opening Scherzo, to the vigorous melodic fourths of the concluding March, the intervening...
++++++++++
output: A Moorside Suite


input: Please answer the following: What song name was chosen because Sweden's two previous Eurovision winners had also included the suffix "-loo"?  Answer the above question based on the context below:  Most of Melodifestivalen's rules are dictated by those of the Eurovision Song Contest.  However, regulations have been introduced by the Swedish broadcasters. The competition's official rules are released by SVT early in preparation for each year's Melodifestival, to ensure any changes are noted by songwriters and performers. There was a limit of six people on stage for each performance. This included the Melodifestivalen choir (huskören, literally "the house choir"), a five-person group of flexible backing singers used by most participants. Artists could use some or all of the back-up singers, or use their own group. All vocals had to be completely live; human voices were not allowed on backing tracks. However, from 2009, the number of performers allowed on stage was eight, and voices were allowed on backing tracks. A live orchestra was used every year from the event's debut to 2000, except 1985 and 1986. Two orchestras were used between 1960 and 1963, a large orchestra and Göte Wilhelmsons kvartett, a jazz quartet. Since 2001, participants have performed to backing tracks. Entries cannot be publicly broadcast until the semi-finals are previewed on radio. Entries eliminated in the semi-finals may be broadcast as soon as the semi-final has finished. An embargo is placed on songs that qualify for the later rounds until the previews for the Second Chance are broadcast. After this, restrictions on the broadcast of contestant songs are lifted.Broadcasters sometimes make sweeping changes to winning songs before they go to Eurovision. For example, at Melodifestivalen 1961, Siw Malmkvist won with "April, April". Performing after her victory, she stumbled on the lyrics of the song and laughed out loud. The press criticised this as childish. SR replaced her with Lill-Babs for the Eurovision Song Contest. The 1987 winner "Fyra bugg och en Coca Cola", performed by Lotta Engberg, is another example; the song's title was changed to "Boogaloo" for Eurovision, as use of a brand name was against the Contest's rules. This...
++++++++++
output: Boogaloo


input: Please answer the following: What is the last name of the person whose early separation from his mother for boarding school was followed by his mother's early death?  Answer the above question based on the context below:  Pyotr Ilyich Tchaikovsky (English:  chy-KOF-skee; Russian: Пётр Ильи́ч Чайко́вский, tr. Pyótr Ilʹyích Chaykóvskiy, IPA: [pʲɵtr ɪlʲˈjitɕ tɕɪjˈkofskʲɪj] (listen); 7 May 1840 [O.S. 25 April] – 6 November [O.S. 25 October] 1893), was a Russian composer of the romantic period, whose works are among the most popular music in the classical repertoire. He was the first Russian composer whose music made a lasting impression internationally, bolstered by his appearances as a guest conductor in Europe and the United States. He was honored in 1884 by Emperor Alexander III, and awarded a lifetime pension. Although musically precocious, Tchaikovsky was educated for a career as a civil servant. There was scant opportunity for a musical career in Russia at that time and no system of public music education. When an opportunity for such an education arose, he entered the nascent Saint Petersburg Conservatory, from which he graduated in 1865. The formal Western-oriented teaching he received there set him apart from composers of the contemporary nationalist movement embodied by the Russian composers of The Five, with whom his professional relationship was mixed. Tchaikovsky's training set him on a path to reconcile what he had learned with the native musical practices to which he had been exposed from childhood. From this reconciliation he forged a personal but unmistakably Russian style—a task that did not prove easy. The principles that governed melody, harmony and other fundamentals of Russian music ran completely counter to those that governed Western European music; this seemed to defeat the potential for using Russian music in large-scale Western composition or for forming a composite style, and it caused personal antipathies that dented Tchaikovsky's self-confidence. Russian culture exhibited a split personality, with its native and adopted elements having drifted apart increasingly since the time of Peter the Great. This resulted in uncertainty among the intelligentsia about the country's national identity—an ambiguity...
++++++++++
output:
Tchaikovsky