input question: I have a test where I am given the following article, what is an answer for the question: What company did Barbirolli first record for as a composer? ?  From almost the start of his career Barbirolli was a frequent recording artist. As a young cellist he made four records for Edison Bell in 1911, with piano accompaniment by his sister Rosa, and as part of the Kutcher and the Music Society string quartets he recorded music by Mozart, Purcell, Vaughan Williams and others in 1925 and 1926. As a conductor he began recording in 1927 for the National Gramophonic Society (an offshoot of The Gramophone). Among his records from that period was the first to be made of Elgar's Introduction and Allegro for Strings. On hearing it, the composer said, "I'd never realised it was such a big work." Elgar, despite an extensive discography as a conductor, never recorded the work himself, and some have speculated that "the breadth, nobility and lyrical poetry" of Barbirolli's interpretation left the composer disinclined to compete. In 1928 Barbirolli made some recordings for the Edison Bell label.  The same year, he began his long association with the His Master's Voice (HMV) label. Immediately after the LSO concert at which he had stood in for Beecham, he was approached by Fred Gaisberg, the chief recording producer for HMV who signed him for his company shortly afterwards. An HMV colleague of Gaisberg described Barbirolli as "a treasure", because he "could accompany Chaliapin without provoking an uproar, win golden opinions from Jascha Heifetz, Artur Rubinstein, Fritz Kreisler and Pablo Casals, and conduct one of the finest recorded performances of the Quintet from Meistersinger". Many of Barbirolli's pre-war recordings for HMV were of concertos. His reputation as an accompanist tended to obscure his talents as a symphonic conductor, and later, his detractors in New York "damned him with faint praise by exalting his powers as an accompanist and then implying that that was where it all stopped." Barbirolli became very sensitive on this point, and for many years after the war he was reluctant to accompany anyone in the recording studio. Among his early HMV records are works,...???
output answer: National Gramophonic Society

input question: I have a test where I am given the following article, what is an answer for the question: What is the first name of the person who uses a small band of strings, recorders and continuo, with a trumpets reserved for the final coronation scene? ?  The first recording of L'incoronazione, with Walter Goehr conducting the Tonhalle-Orchester Zürich in a live stage performance, was issued in 1954. This LP version, which won a Grand Prix du Disque in 1954, is the only recording of the opera that predates the revival of the piece that began with the 1962 Glyndebourne Festival production. In 1963 Herbert von Karajan and the Vienna Staatsoper issued a version described by Gramophone as "far from authentic", while the following year John Pritchard and the Royal Philharmonic Orchestra recorded an abridged version using Leppard's Glyndebourne orchestration. Leppard conducted a Sadler's Wells production, which was broadcast by the BBC and recorded on 27 November 1971. This is the only recording of the opera in English.Nikolaus Harnoncourt's 1974 version, the first recording without cuts, used period instruments in an effort to achieve a more authentic sound, although Denis Arnold has criticised Harnoncourt's "over-ornamentation" of the score, particularly his use of oboe and trumpet flourishes. Arnold showed more enthusiasm for Alan Curtis's 1980 recording, live from La Fenice in Venice. Curtis uses a small band of strings, recorders and continuo, with a trumpets reserved for the final coronation scene. Subsequent recordings have tended to follow the path of authenticity, with versions from baroque specialists including Richard Hickox and the City of London Baroque Sinfonia (1988), René Jacobs and Concerto Vocale (1990), and John Eliot Gardiner with the English Baroque Soloists. Sergio Vartolo's production of the opera at Pigna, Corsica, was recorded for Brilliant Classics in 2004. A feature of this recording is the casting of a soprano Nerone in acts I and III, and a tenor Nerone in act II, to allow for the differing vocal requirements of the role in these acts. Vartolo accepts that "a staged performance would almost certainly require a different approach".In more recent years, videotape and DVD versions have proliferated. The first was in 1979, a version directed...???
output answer: Alan

input question: I have a test where I am given the following article, what is an answer for the question: What was the full German name of the group that issued extensive guidelines, ranging from the width of avenues that carried streetcar lines to the ratio of theatre seats to inhabitants? ?  In February 1942, following the death of Fritz Todt, Hitler appointed Speer as Minister of Armaments and War Production.  Wolters followed Speer to his new ministry, becoming head of the Department of Culture, Media, and Propaganda of the Organization Todt.  Wolters continued his Chronik in the new position.In December 1943, Speer put Wolters in charge of planning for the reconstruction of bombed German cities.  Wolters organized a working group of about twenty architects and city planners, mostly from northern Germany.  The work of this group, known as the Arbeitsstab Wiederaufbauplanung (Task Force for Reconstruction Planning), would form the basis for the actual postwar reconstruction of Germany.  Speer, who authorized the group, saw an opportunity to make German cities more habitable in the age of the automobile.  The group sought solutions which would use the existing street system, rather than the grand ceremonial boulevards common in Nazi city planning.  In addition, the Arbeitsstab issued extensive guidelines, ranging from the width of avenues that carried streetcar lines to the ratio of theatre seats to inhabitants.Wolters rarely met Hitler, and only in the company of other members of Speer's office.  He later recorded, Of course, from these few experiences, I cannot judge Hitler's personality, but having shared with Speer his virtually daily contacts with him, and being familiar with Hitler's ideas, for example, on town planning, I think that commentators are making it easy for themselves now when, as they frequently do, they resort in their descriptions to simplistic epitaphs such as "buck private", "wall painter", "petit-bourgeois philistine", or "history's greatest criminal".???
output answer: