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"María Rosa Lida de Malkiel"
"thumb|right|270px|Lida María Rosa Lida de Malkiel (Buenos Aires, 7 November 1910-Oakland, 25 September 1962) was 'n Argentynse filosoof en skrywer. http://www.treccani.it/enciclopedia/lida-de-malkiel-maria-rosa/ Lewe Haar familie was Joods. Sy studeer filosofie aan die Universiteit van Buenos Aires. Sy was getroud met Yakov Malkiel. Werke Herodoto. Los nueve libros de la historia, 1949 Juan de Mena, poeta del prerrenacimiento español, 1950 La idea de la fama en la Edad Media castellana, 1952 Two Spanish Masterpieces: the Book of Good Love and The Celestina, 1961 La originalidad artística de «La Celestina». Eudeba, 1962 Estudios de literatura española y comparada, 1966 Jerusalén. El tema literario de su cerco y destrucción por los romanos, 1972 Juan Ruiz. Selección del Libro de buen amor y estudios críticos, 1973 Dido en la literatura española. Su retrato y defensa, 1974 La tradición clásica en España, 1975 El cuento popular y otros ensayos', 1976 Estudios sobre la literatura del Siglo XV, 1977 Herodes. Su persona, reinado y dinastía'', 1977 Verwysings Kategorie:Argentynse skrywers Kategorie:Geboortes in 1910 Kategorie:Sterftes in 1962"
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" ], "translation": " Lida María Rosa Lida de Malkiel ( Buenos Aires , November 7 , 1910 - Oakland , September 25 , 1962 ) was an Argentine philosopher and writer .\n", "translation_sents": [ " Lida María Rosa Lida de Malkiel ( Buenos Aires , November 7 , 1910 - Oakland , September 25 , 1962 ) was an Argentine philosopher and writer .\n" ], "translation_probs": [ [ 0.9999929070472717, 1, 1, 1, 1, 1, 0.9999999403953552, 0.999998152256012, 0.9999973177909851, 0.49021074175834656, 0.5045120716094971, 0.9999815821647644, 0.9999999403953552, 0.9999969005584717, 1, 1, 0.9999991655349731, 0.9273695349693298, 0.9999834895133972, 1, 0.9999963045120239, 1, 0.999999463558197, 0.9999895691871643, 0.9999992847442627, 0.9998349547386169, 1, 0.9999997019767761, 0.4951358139514923, 0.5096746683120728, 0.9999998211860657 ] ], "repetitious_translation": false } ], "source_lang": [ "unknown" ], "source_url": [ "http://www.treccani.it/enciclopedia/lida-de-malkiel-maria-rosa/" ], "source_text": [ "Filologa argentina (Buenos Aires 1910 - Stanford, California, 1962), cui si deve una acuta indagine sul periodo tra basso Medioevo e Rinascimento nella letteratura spagnola. Scrisse fra l'altro: Juan de Mena, poeta del prerrenacimiento español (1950), La idea de la fama en la Antigüedad y en la Edad Media castellana (1952), La visión del trasmundo en las literaturas hispánicas (1956), Two spanish masterpieces: The \"Book of Good Love\" and \"The Celestina\" (1961), La originalidad artística de \"La Celestina\" (1962)." ], "qa_pairs": [ { "question": [ "when did maria rosa lida de malkiel die", "where did maria rosa lida de malkiel die", "in which year was maria rosa lida de malkiel born", "which argentine philosopher and writer died in oakland, california in 1962", "where was maria rosa lida de malkiel born", "in which city was maria rosa lida de malkiel born" ], "en_answer": [ "September 25 , 1962", "Oakland , September 25 , 1962", "1910", "Lida María Rosa Lida de Malkiel", "Buenos Aires , November 7 , 1910", "Buenos Aires" ], "lang_answer": [ ", 25 September 1962", "1910-Oakland , 25 September 1962", "1910-Oakland", "Lida María Rosa Lida de Malkiel", "Buenos Aires , 7 November 1910-Oakland", "Buenos Aires" ], "frames": [ { "frame": [], "argument": [] }, { "frame": [], "argument": [] }, { "frame": [], "argument": [] }, { "frame": [], "argument": [] }, { "frame": [], "argument": [] }, { "frame": [], "argument": [] } ], "en_matches_in_source": [ [], [], [ [ 33, 37 ] ], [], [], [ [ 20, 32 ] ] ], "en_match_in_passage": [ [ 79, 98 ], [ 69, 98 ], [ 62, 66 ], [ 0, 31 ], [ 34, 66 ], [ 34, 46 ] ], "lang_matches_in_source": [ [], [], [], [], [], [ [ 20, 32 ] ] ], "lang_match_in_passage": [ [ 13, 16 ], [ 12, 16 ], [ 12, 12 ], [ 0, 5 ], [ 7, 12 ], [ 7, 8 ] ], "passage": [ [ " Lida María Rosa Lida de Malkiel ( Buenos Aires , November 7 , 1910 - Oakland , September 25 , 1962 ) was an Argentine philosopher and writer .\n" ], [ " Lida María Rosa Lida de Malkiel ( Buenos Aires , November 7 , 1910 - Oakland , September 25 , 1962 ) was an Argentine philosopher and writer .\n" ], [ " Lida María Rosa Lida de Malkiel ( Buenos Aires , November 7 , 1910 - Oakland , September 25 , 1962 ) was an Argentine philosopher and writer .\n" ], [ " Lida María Rosa Lida de Malkiel ( Buenos Aires , November 7 , 1910 - Oakland , September 25 , 1962 ) was an Argentine philosopher and writer .\n" ], [ " Lida María Rosa Lida de Malkiel ( Buenos Aires , November 7 , 1910 - Oakland , September 25 , 1962 ) was an Argentine philosopher and writer .\n" ], [ " Lida María Rosa Lida de Malkiel ( Buenos Aires , November 7 , 1910 - Oakland , September 25 , 1962 ) was an Argentine philosopher and writer .\n" ] ], "en_answer_tokens": [ [ "September", "25", ",", "1962" ], [ "Oakland", ",", "September", "25", ",", "1962" ], [ "1910" ], [ "Lida", "María", "Rosa", "Lida", "de", "Malkiel" ], [ "Buenos", "Aires", ",", "November", "7", ",", "1910" ], [ "Buenos", "Aires" ] ], "match_disambiguated_question": [ "when did maria rosa lida de malkiel die", "where did maria rosa lida de malkiel die", "in which year was maria rosa lida de malkiel born", "which argentine philosopher and writer died in oakland, california in 1962", "where was maria rosa lida de malkiel born", "in which city was maria rosa lida de malkiel born" ] } ] }
"Bernard Greenhouse"
"Bernard Greenhouse (3 Januarie 1916 – 13 Mei 2011) was 'n Amerikaanse tjellis een een van die stigterslede van die Beaux Arts Trio. Lewe en loopbaan Greenhouse is gebore in Newark, New Jersey. Hy het sy professionele studies onder Felix Salmond aan die Juilliard-skool begin toe hy agtien jaar oud was. Na vier jaar se studies onder Salmond het Greenhouse voortgegaan om onder Emanuel Feuermann en Diran Alexanian te studeer, en daarna een van die min langtermynstudente van Pablo Casals geword, onder wie hy vanaf 1946 tot 1948 studeer het. Nadat hy sy studies onder Casals voltooi het, het Greenhouse vir twaalf jaar lank 'n sololoopbaan gevolg. Hy het egter hiermee gesukkel, aangesien die tjello destyds nie 'n baie gewilde solo-instrument was nie. Gedurende hierdie tydperk het hy die violis Daniel Guilet ontmoet, wat Greenhouse in 1954 uitgenooi het om van Mozart se klaviertrios saam met die pianis Menahem Pressler te speel. Hulle het in 1955 in New York stad ontmoet, welke die eerste vergadering van die Beaux Arts Trio was. In 1958 het Greenhouse die Countess of Stanlein aangekoop, ook bekend as die Paganini Strad, wat een van 63 van Antonio Stradivari se tjellos is, en dit daarna gespeel. "Bernard Greenhouse: A Master And His Cello" All Things Considered Diaries onderhoud, uitgesaai op 21 Augustus 2008. Na sy afsterwe sou dit verkoop word deur die Bostonse vioolhandelaar Christopher Reuning. In 1987 het hy die trio verlaat en is hy vervang met tjellis Peter Wiley. Greenhouse was bekend vir sy onberispelike tegniek, maar nog meer vir sy inspirerende passie en die diepte en verskeidenheid van sy klank. Gedurende sy loopbaan het hy aan die Hartt Musiekkollege, die Staatsuniversiteit van New York in Stony Brook, die Manhattan Skool van Musiek, die New England Konservatorium, Rutgers-universiteit en die Juilliard-skool klasgegee. 'n Reeks video's van sy meesterklasse is in 1993 vervaardig deur Ethan Winer. Alhoewel Greenhouse afgetree het uit institusionele onderrig, het hy steeds tot en met sy afsterwe in 2011 regdeur die Verenigde State, Kanada, China, Korea, Japan en Europa meesterklasse aangebied. Daar is op 21 Augustus 2008, soos wat die afskeidskonsert van die Beaux Arts Trio aan't nader was, 'n onderhoud met hom gevoer. Hy het gesê dat hy elke dag oefen en beskou word as "die ou man van die tjello", en dat ander bejaarde tjelliste verbaas was dat hy nog op 95-jarige ouderdom optree. Greenhouse was ook die oudste van diegene wat in die trio gespeel het, tot ten minste 2015, met Daniel Guilet wat op 91-jarige ouderdom gesterf het, "Daniel Guilet, Violinist, Is Dead; Beaux Arts Trio Founder Was 91", The New York Times, 17 Oktober 1990 en Isidore Cohen wat op 82-jarige ouderdom gesterf het. Greenhouse se tweede passie was om op sy verskeie bote te vaar. Hy het op 13 Mei 2011 in sy huis, met 'n uitsig op die Wellfleet, Massachusetts hawe op Cape Cod, gesterf. Sy dogter Elena wat hy saam met Aurora de la Luz Fernandez y Menendez gehad het, is met die skrywer Nicholas Delbanco getroud. Studente Greenhouse se noemenswaardige studente sluit in: Timothy Eddy Maxine Neuman Paul Katz Amit Peled Damien Ventula Stjepan Hauser Uzi Wiesel Astrid Schween Kurt Baldwin Gedeeltelike diskografie Verskynings Met die Vellinger Kwartet Schubert: Strykkwintet in C (BBCMM75, 1998) Met die Henri René Orkes RCA Victor Presents Eartha Kitt (RCA, 1953) That Bad Eartha (EP) (RCA, 1954) Down To Eartha (RCA, 1955) That Bad Eartha (LP) (RCA, 1956) Thursday's Child (RCA, 1957) Verwysings Verdere leeswerk Bowed Arts--Gedanken von Bernard Greenhouse über sein Leben und die Musik. Reflections of Bernard Greenhouse on His Life and Music, Laurinel Owen, Kronberg Academy Verlag, Kronberg im Taunus (2001). Die werk beskik oor Duitse en Engelse weergawes (dit is oorspronklik in Engels geskryf en daarna in Duits vertal en in Duitsland uitgegee). . The Beaux Arts Trio. A Portrait, Nicholas Delbanco, William Morrow and Co., New York (1985). . The Countess of Stanlein Restored, Nicholas Delbanco, Verso, Londen & New York (2001). A History of the Countess of Stanlein ex Paganini Stradivarius Cello of 1707. . Eksterne skakels UNCG Special Collections and University Archives Cello Music Collection: Bernard Greenhouse Bernard Greenhouse Personal Papers Collection, 1916-2011 UNCG Special Collections and University Archives past exhibits: Celebrating the Cello Music Collection: The Greenhouse Legacy UNCG Digital Collections: Bernard Greenhouse Collection Bach: Cantata No. 79 "Gott is unser Sonn' und Schild- performed by the Bach Aria Group - Bernard Greenhouse, cello; Maureen Forrester, contralto; Robert Bloom, oboe; Paul Ulanowsky, piano (1966) on archive.org Kategorie:Amerikaanse musici Kategorie:Amerikaanse tjelliste Kategorie:Geboortes in 1916 Kategorie:Sterftes in 2011"
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1916 – 13 Mei 2011 ) was ' n Amerikaanse tjellis een een van die stigterslede van die Beaux Arts Trio . " ], "translation": " Bernard Greenhouse ( January 3 , 1916 – May 13 , 2011 ) was an American cellist and one of the founding members of the Beaux Arts Trio .\n", "translation_sents": [ " Bernard Greenhouse ( January 3 , 1916 – May 13 , 2011 ) was an American cellist and one of the founding members of the Beaux Arts Trio .\n" ], "translation_probs": [ [ 1, 0.9999999403953552, 1, 0.9999996423721313, 0.9999961256980896, 1, 1, 0.9999999403953552, 0.9999987483024597, 1, 0.9999974370002747, 0.9999576210975647, 0.9921097159385681, 1, 0.6629127264022827, 0.67039954662323, 0.9872475862503052, 0.9914411306381226, 0.9994027614593506, 0.600592851638794, 0.9999975562095642, 0.9999902844429016, 0.9999619722366333, 1 ] ], "repetitious_translation": false }, { "original": "Bernard Greenhouse (3 Januarie 1916 – 13 Mei 2011) was 'n Amerikaanse tjellis een een van die stigterslede van die Beaux Arts Trio.", "original_sents": [ "Bernard Greenhouse ( 3 Januarie 1916 – 13 Mei 2011 ) was ' n Amerikaanse tjellis een een van die stigterslede van die Beaux Arts Trio . " ], "translation": " Bernard Greenhouse ( January 3 , 1916 – May 13 , 2011 ) was an American cellist and one of the founding members of the Beaux Arts Trio .\n", "translation_sents": [ " Bernard Greenhouse ( January 3 , 1916 – May 13 , 2011 ) was an American cellist and one of the founding members of the Beaux Arts Trio .\n" ], "translation_probs": [ [ 1, 0.9999999403953552, 1, 0.9999996423721313, 0.9999961256980896, 1, 1, 0.9999999403953552, 0.9999987483024597, 1, 0.9999974370002747, 0.9999576210975647, 0.9921097159385681, 1, 0.6629127264022827, 0.67039954662323, 0.9872475862503052, 0.9914411306381226, 0.9994027614593506, 0.600592851638794, 0.9999975562095642, 0.9999902844429016, 0.9999619722366333, 1 ] ], "repetitious_translation": false }, { "original": "Lewe en loopbaan Greenhouse is gebore in Newark, New Jersey.", "original_sents": [ "Lewe en loopbaan Greenhouse is gebore in Newark , New Jersey . " ], "translation": " Life and career Greenhouse was born in Newark , New Jersey .\n", "translation_sents": [ " Life and career Greenhouse was born in Newark , New Jersey .\n" ], "translation_probs": [ [ 0.9999552369117737, 1, 1, 0.9999998807907104, 1, 1, 0.9258290529251099, 1, 1, 0.6449543833732605, 1, 1 ] ], "repetitious_translation": false }, { "original": "Lewe en loopbaan Greenhouse is gebore in Newark, New Jersey. Hy het sy professionele studies onder Felix Salmond aan die Juilliard-skool begin toe hy agtien jaar oud was.", "original_sents": [ "Lewe en loopbaan Greenhouse is gebore in Newark , New Jersey . ", "Hy het sy professionele studies onder Felix Salmond aan die Juilliard - skool begin toe hy agtien jaar oud was . " ], "translation": " Life and career Greenhouse was born in Newark , New Jersey .\n He began his professional studies under Felix Salmond at the Juilliard School when he was eighteen years old .\n", "translation_sents": [ " Life and career Greenhouse was born in Newark , New Jersey .\n", " He began his professional studies under Felix Salmond at the Juilliard School when he was eighteen years old .\n" ], "translation_probs": [ [ 0.9999552369117737, 1, 1, 0.9999998807907104, 1, 1, 0.9258290529251099, 1, 1, 0.6449543833732605, 1, 1 ], [ 0.999999463558197, 0.9999997615814209, 1, 1, 1, 1, 1, 0.9999971389770508, 1, 1, 0.8955012559890747, 1, 0.8341444730758667, 0.8980759382247925, 0.7394669651985168, 1 ] ], "repetitious_translation": false }, { "original": "In 1958 het Greenhouse die Countess of Stanlein aangekoop, ook bekend as die Paganini Strad, wat een van 63 van Antonio Stradivari se tjellos is, en dit daarna gespeel.", "original_sents": [ "In 1958 het Greenhouse die Countess of Stanlein aangekoop , ook bekend as die Paganini Strad , wat een van 63 van Antonio Stradivari se tjellos is , en dit daarna gespeel . " ], "translation": " In 1958 , Greenhouse purchased the Countess of Stanlein , also known as the Paganini Strad , which is one of 63 of Antonio Stradivari 's cellos , and subsequently played it .\n", "translation_sents": [ " In 1958 , Greenhouse purchased the Countess of Stanlein , also known as the Paganini Strad , which is one of 63 of Antonio Stradivari 's cellos , and subsequently played it .\n" ], "translation_probs": [ [ 0.7343969941139221, 0.9999955296516418, 0.9999508857727051, 1, 1, 1, 0.9828236699104309, 0.992833137512207, 0.9997572898864746, 0.9979869723320007, 0.9999999403953552, 0.9999549984931946, 0.7303526401519775, 0.9977070093154907, 0.9718872308731079, 0.9999964237213135, 0.9996644854545593, 1, 0.9999834895133972, 1, 0.9999998211860657, 0.9079012274742126, 0.9543558955192566, 0.9991297721862793, 0.9996235966682434, 0.9999829530715942, 0.9840317964553833, 0.9991966485977173, 0.9997266530990601, 0.999989926815033 ] ], "repetitious_translation": false }, { "original": "\"Bernard Greenhouse: A Master And His Cello\" All Things Considered Diaries onderhoud, uitgesaai op 21 Augustus 2008. Na sy afsterwe sou dit verkoop word deur die Bostonse vioolhandelaar Christopher Reuning.", "original_sents": [ "\" Bernard Greenhouse : A Master And His Cello \" All Things Considered Diaries onderhoud , uitgesaai op 21 Augustus 2008 . ", "Na sy afsterwe sou dit verkoop word deur die Bostonse vioolhandelaar Christopher Reuning . " ], "translation": " \" Bernard Greenhouse : A Master And His Cello \" All Things Considered Diaries interview , broadcast August 21 , 2008 .\n After his death it was to be sold by Boston violin dealer Christopher Reuning .\n", "translation_sents": [ " \" Bernard Greenhouse : A Master And His Cello \" All Things Considered Diaries interview , broadcast August 21 , 2008 .\n", " After his death it was to be sold by Boston violin dealer Christopher Reuning .\n" ], "translation_probs": [ [ 1, 1, 1, 1, 0.9996381998062134, 1, 1, 1, 1, 0.9999997615814209, 0.9999999403953552, 1, 1, 1, 0.9830853343009949, 1, 0.9999960064888, 0.7263087034225464, 1, 0.999999463558197, 1, 1 ], [ 1, 1, 0.9999970197677612, 0.9999992251396179, 1, 0.9509070515632629, 1, 1, 0.9967314004898071, 0.9933463931083679, 1, 1, 1 ] ], "repetitious_translation": false }, { "original": "In 1987 het hy die trio verlaat en is hy vervang met tjellis Peter Wiley.", "original_sents": [ "In 1987 het hy die trio verlaat en is hy vervang met tjellis Peter Wiley . " ], "translation": " In 1987 he left the trio and was replaced by cellist Peter Wiley .\n", "translation_sents": [ " In 1987 he left the trio and was replaced by cellist Peter Wiley .\n" ], "translation_probs": [ [ 0.9489999413490295, 1, 0.9998704791069031, 1, 0.9999727606773376, 0.9999998807907104, 1, 1, 0.9998357892036438, 1, 0.9999998211860657, 1 ] ], "repetitious_translation": false }, { "original": "In 1987 het hy die trio verlaat en is hy vervang met tjellis Peter Wiley. Greenhouse was bekend vir sy onberispelike tegniek, maar nog meer vir sy inspirerende passie en die diepte en verskeidenheid van sy klank.", "original_sents": [ "In 1987 het hy die trio verlaat en is hy vervang met tjellis Peter Wiley . ", "Greenhouse was bekend vir sy onberispelike tegniek , maar nog meer vir sy inspirerende passie en die diepte en verskeidenheid van sy klank . " ], "translation": " In 1987 he left the trio and was replaced by cellist Peter Wiley .\n Greenhouse was known for his impeccable technique , but even more so for his inspiring passion and the depth and variety of his sound .\n", "translation_sents": [ " In 1987 he left the trio and was replaced by cellist Peter Wiley .\n", " Greenhouse was known for his impeccable technique , but even more so for his inspiring passion and the depth and variety of his sound .\n" ], "translation_probs": [ [ 0.9489999413490295, 1, 0.9998704791069031, 1, 0.9999727606773376, 0.9999998807907104, 1, 1, 0.9998357892036438, 1, 0.9999998211860657, 1 ], [ 0.9999991059303284, 1, 0.9999998211860657, 0.3591797649860382, 0.90935879945755, 0.9993963241577148, 0.9999986290931702, 1, 1, 0.9946421980857849, 0.2957405745983124, 0.8574538826942444, 0.9999994039535522, 1, 0.9999999403953552, 0.9934800863265991, 0.9999995827674866, 0.9998247027397156, 0.9944203495979309, 0.32117414474487305, 0.9999890327453613, 1, 0.9999852180480957 ] ], "repetitious_translation": false }, { "original": "Hy het gesê dat hy elke dag oefen en beskou word as \"die ou man van die tjello\", en dat ander bejaarde tjelliste verbaas was dat hy nog op 95-jarige ouderdom optree. Greenhouse was ook die oudste van diegene wat in die trio gespeel het, tot ten minste 2015, met Daniel Guilet wat op 91-jarige ouderdom gesterf het, \"Daniel Guilet, Violinist, Is Dead;", "original_sents": [ "Hy het gesê dat hy elke dag oefen en beskou word as \" die ou man van die tjello \" , en dat ander bejaarde tjelliste verbaas was dat hy nog op 95-jarige ouderdom optree . ", "Greenhouse was ook die oudste van diegene wat in die trio gespeel het , tot ten minste 2015 , met Daniel Guilet wat op 91-jarige ouderdom gesterf het , \" Daniel Guilet , Violinist , Is Dead ; " ], "translation": " He said that he practices every day and is considered \" the old man of the cello \" , and that other elderly cellists were surprised that he was still performing at age 95 .\n Greenhouse was also the oldest of those who played in the trio , until at least 2015 , with Daniel Guilet having died at age 91 , “ Daniel Guilet , Violinist , Is Dead ;\n", "translation_sents": [ " He said that he practices every day and is considered \" the old man of the cello \" , and that other elderly cellists were surprised that he was still performing at age 95 .\n", " Greenhouse was also the oldest of those who played in the trio , until at least 2015 , with Daniel Guilet having died at age 91 , “ Daniel Guilet , Violinist , Is Dead ;\n" ], "translation_probs": [ [ 0.9988683462142944, 0.9999858736991882, 0.9999188780784607, 0.9818892478942871, 0.99809330701828, 0.9992937445640564, 0.99945467710495, 0.9999621510505676, 0.990139901638031, 0.38383349776268005, 0.7582565546035767, 1, 0.9997913241386414, 0.9999938607215881, 0.9912950992584229, 1, 0.9999998807907104, 0.9971160888671875, 0.9999880194664001, 0.99885094165802, 0.9999990463256836, 0.9999901056289673, 0.9999948740005493, 0.9392443299293518, 0.9998840689659119, 0.9999973177909851, 0.9353344440460205, 0.9998592734336853, 1, 0.7084978222846985, 0.6111006140708923, 0.2746785283088684, 0.8154551982879639, 0.9999998807907104 ], [ 0.9999971389770508, 0.9999997615814209, 0.9999948143959045, 0.9999968409538269, 0.9853137135505676, 0.9995976686477661, 0.9999983906745911, 0.9999684691429138, 1, 0.9999114871025085, 0.6637390851974487, 0.9982712864875793, 1, 1, 1, 0.9830471277236938, 0.9999998807907104, 0.9996719360351562, 0.9998311400413513, 0.9914336204528809, 0.24525204300880432, 0.3421204090118408, 1, 0.9805856347084045, 0.9687579870223999, 0.669581413269043, 0.9999792575836182, 1, 0.9997608661651611, 0.9879376888275146, 0.614599347114563, 0.9990131855010986, 1, 0.7149598598480225, 0.9843090176582336, 0.9999997019767761, 0.9999968409538269, 1 ] ], "repetitious_translation": false }, { "original": "Greenhouse was ook die oudste van diegene wat in die trio gespeel het, tot ten minste 2015, met Daniel Guilet wat op 91-jarige ouderdom gesterf het, \"Daniel Guilet, Violinist, Is Dead; Beaux Arts Trio Founder Was 91\", The New York Times, 17 Oktober 1990 en Isidore Cohen wat op 82-jarige ouderdom gesterf het.", "original_sents": [ "Greenhouse was ook die oudste van diegene wat in die trio gespeel het , tot ten minste 2015 , met Daniel Guilet wat op 91-jarige ouderdom gesterf het , \" Daniel Guilet , Violinist , Is Dead ; Beaux Arts Trio Founder Was 91 \" , The New York Times , 17 Oktober 1990 en Isidore Cohen wat op 82-jarige ouderdom gesterf het . " ], "translation": " Greenhouse was also the eldest of those who played in that trio , until at least 2015 , with Daniel Guilet who died at the age of 91 , \" Daniel Guilet , Violinist , Is Dead ; Beaux Arts Trio Founder Was 91 \" , The New York Times , October 17 , 1990 and Isidore Cohen died at the age of 82 .\n", "translation_sents": [ " Greenhouse was also the eldest of those who played in that trio , until at least 2015 , with Daniel Guilet who died at the age of 91 , \" Daniel Guilet , Violinist , Is Dead ; Beaux Arts Trio Founder Was 91 \" , The New York Times , October 17 , 1990 and Isidore Cohen died at the age of 82 .\n" ], "translation_probs": [ [ 0.9999524354934692, 0.9998860955238342, 0.9999141097068787, 0.9996428489685059, 0.9390695691108704, 0.998681366443634, 0.9999544620513916, 0.8628070950508118, 0.9999727606773376, 0.9997715950012207, 0.983413815498352, 0.9999451041221619, 0.9578695893287659, 0.9978235960006714, 1, 0.9645375609397888, 0.9999993443489075, 0.997604489326477, 0.9992771744728088, 0.9989943504333496, 0.9984022378921509, 0.4734979271888733, 0.4703998267650604, 0.9923097491264343, 0.8824964761734009, 0.9996131658554077, 0.9999993443489075, 0.9961883425712585, 0.997573733329773, 0.9994857311248779, 0.999992311000824, 0.7664004564285278, 0.9992377161979675, 0.9998763799667358, 0.9999848008155823, 0.9999991655349731, 0.9999818205833435, 0.9999951720237732, 0.9999583959579468, 0.9999890327453613, 0.9999611377716064, 0.99931401014328, 0.9999996423721313, 0.9954615831375122, 0.5005338788032532, 0.9590398669242859, 0.999999463558197, 0.9997273683547974, 0.5124348402023315, 0.9966325759887695, 0.9999790787696838, 0.9999704360961914, 0.9999999403953552, 0.999969482421875, 0.9999999403953552, 1, 0.9999960064888, 0.43378549814224243, 0.9629225134849548, 0.7966991662979126, 0.4976203441619873, 0.9995429515838623 ] ], "repetitious_translation": false }, { "original": "Greenhouse se tweede passie was om op sy verskeie bote te vaar. Hy het op 13 Mei 2011 in sy huis, met 'n uitsig op die Wellfleet, Massachusetts hawe op Cape Cod, gesterf.", "original_sents": [ "Greenhouse se tweede passie was om op sy verskeie bote te vaar . ", "Hy het op 13 Mei 2011 in sy huis , met ' n uitsig op die Wellfleet , Massachusetts hawe op Cape Cod , gesterf . " ], "translation": " Greenhouse 's second passion was sailing on his various boats .\n He died on May 13 , 2011 in his home , overlooking the Wellfleet , Massachusetts harbor on Cape Cod .\n", "translation_sents": [ " Greenhouse 's second passion was sailing on his various boats .\n", " He died on May 13 , 2011 in his home , overlooking the Wellfleet , Massachusetts harbor on Cape Cod .\n" ], "translation_probs": [ [ 1, 0.9999642968177795, 1, 1, 0.9998496770858765, 0.7223749756813049, 1, 0.9999954104423523, 1, 1, 0.7024907469749451, 0.9853480458259583, 0.6285883784294128, 1 ], [ 0.9999998211860657, 0.24563708901405334, 0.18094618618488312, 0.9999999403953552, 0.9999980330467224, 1, 0.6744115948677063, 0.9999264478683472, 0.9999971389770508, 0.9999821782112122, 0.37653419375419617, 0.990540087223053, 0.8268646001815796, 1, 0.9999983310699463, 1, 0.999947726726532, 0.9999998807907104, 1, 1, 0.996781587600708, 1, 0.9999998807907104 ] ], "repetitious_translation": false }, { "original": "Studente Greenhouse se noemenswaardige studente sluit in: Timothy Eddy Maxine Neuman Paul Katz Amit Peled Damien Ventula Stjepan Hauser Uzi Wiesel Astrid Schween Kurt Baldwin", "original_sents": [ "Studente Greenhouse se noemenswaardige studente sluit in : Timothy Eddy Maxine Neuman Paul Katz Amit Peled Damien Ventula Stjepan Hauser Uzi Wiesel Astrid Schween Kurt Baldwin " ], "translation": " Student Greenhouse 's notable students include : Timothy Eddy Maxine Neuman Paul Katz Amit Peled Damien Ventula Stjepan Hauser Uzi Wiesel Astrid Schween Kurt Baldwin\n", "translation_sents": [ " Student Greenhouse 's notable students include : Timothy Eddy Maxine Neuman Paul Katz Amit Peled Damien Ventula Stjepan Hauser Uzi Wiesel Astrid Schween Kurt Baldwin\n" ], "translation_probs": [ [ 0.9999998211860657, 0.9999985098838806, 0.6487849950790405, 0.7754915952682495, 0.9998269081115723, 0.9999998807907104, 0.9999317526817322, 1, 0.9999999403953552, 0.9999998211860657, 0.9999929070472717, 0.9999994039535522, 1, 1, 0.9999999403953552, 1, 0.9328917264938354, 1, 0.9999997019767761, 1, 1, 1, 0.9999986886978149, 1 ] ], "repetitious_translation": false } ], "source_lang": [ "en", null, null, "en", null, "en", null, null, null, null, null, null ], "source_url": [ "http://www.historyorb.com/date/1916/january/3", "https://www.nytimes.com/2011/05/14/arts/music/bernard-greenhouse-cellist-dies-at-95.html?_r=1&partner=rss&emc=rss", "https://www.kronbergacademy.de/cms/deutsch/shop/ausstellungen/bernard-greenhouse.html", "http://www.cello.org/Newsletter/Articles/greenhouse.htm", "https://www.npr.org/templates/player/mediaPlayer.html?action=1&t=1&islist=false&id=93844925&m=93835635", "https://web.archive.org/web/20191207165141/https://www.nytimes.com/2012/01/15/magazine/bernard-greenhouse-cello.html", "http://www.beauxartstrio.org/about.html", "http://www.stringsmagazine.com/News/Interviews-Profiles/Greenhouse-Effect-UNCG-honors-cellist-Bernard-Greenhouse-in-his-90th-year", "https://www.nytimes.com/1990/10/17/obituaries/daniel-guilet-violinist-is-dead-beaux-arts-trio-founder-was-91.html", "http://www.juilliard.edu/update/journal/j_articles647.html", "https://web.archive.org/web/20200123181600/https://www.nytimes.com/2011/05/14/arts/music/bernard-greenhouse-cellist-dies-at-95.html", "https://web.archive.org/web/20130404094622/http://stjepanhauser.webs.com/biography.htm" ], "source_text": [ "Famous Birthdays\n- Antonio Estévez, Venezuelan composer and conductor (Cantata Criolla), born in Calabozo, Guárico, Venezuela (d. 1988)\n- Bernard Greenhouse, American cellist (Beaux Arts Trio), born in Newark, New Jersey (d. 2011)\n- Elizabeth \"Betty\" Furness, American actress, journalist and consumer activist (Dangerous Corner, Studio 1), born in NYC, New York (d. 1994)\n- Fred Haas, American golfer (5 PGA Tour titles; Ryder Cup 1953), born in Portland, Arkansas (d. 2004)\n- Maxene Andrews, American pop and sing jazz inger (The Andrews Sisters - \"Boogie Woogie Bugle Boy\"; \"Rum and Coca-Cola\"), born in Minneapolis, Minnesota (d. 1995)\nFamous Deaths\nGrenville M. Dodge\nGrenville M. Dodge, American railroad engineer (Transcontinental Railroad-Union Pacific) and Major General (Union Army), dies at 84\n1916 Highlights\nDay of the Week: Monday\nGeneration: Greatest Generation\nAbout January 3, 1916\nDay of the Week: Monday\nHow Long Ago? 106 years, 9 months and 7 days\nLeap Year: Yes\nGeneration: Greatest Generation\nChinese Zodiac: Rabbit\nStar Sign: Capricorn", null, null, "Conversation with Bernard Greenhouse\nby\nAmerican cellist Bernard Greenhouse, a founding member of the Beaux Arts Trio for thirty two years, has won a reputation as one of the major interpreters on his instrument, making appearances in most of the major cities of Europe and America in recital, with orchestras, in chamber music ensembles, and in recordings for CBS, RCA, Philips, Concert Hall, and the American Recording Society. He has been a member of the faculties of the Manhattan School of Music and the State University of New York at Stony Brook, from which he received an Honorary Doctorate. He has recently retired Emeritus from his position as WCSL Professor at Rutgers University and from the New England Conservatory. Mr. Greenhouse now teaches Master Classes in the United States, Canada, and Europe. His varied career has brought him recognition both as a soloist and as a chamber musician. He was recently awarded the National Service Award by Chamber Music America. In 1993 he produced a video called, \"Cello Master Class with Bernard Greenhouse,\" published by Crescent Software.\nTJ: You studied with Felix Salmond, who also taught Leonard Rose.\nBG: When I was 18, I had to choose between entering a pre-med program or trying out for Juilliard. I chose to try for a Juilliard fellowship, which I was awarded, and I began to study with Felix Salmond. He was sort of a funnel for talent from all over the United States, since there weren't many cellists at the time. There were only eight cellists at Juilliard, as well as at Curtis, and each one was a very gifted player.\nTJ: Did you attend school with Leonard Rose?\nBG: No, he was at Curtis, in Philadelphia, though we were quite aware of each other because of our common teacher. I remember going to my lessons where Salmond would often say, \"Oh, Bernard, I just came from Philadelphia where I have the most wonderful talent in the world, just a great, great young talent, Leonard Rose.\" After a while, I grew tired of hearing about Leonard Rose, and I would bristle each time he mentioned him. Naturally, being an ambitious youth, I had a high opinion of my own talent, and I wanted him tell me how great I was.\nA couple of years later, the Curtis Orchestra came to New York to play a performance of \"The Marriage of Figaro\" with Fritz Reiner conducting, and we had to share our rooms with some of the musicians. As luck would have it, Leonard Rose was my guest. He took one look at me and said, \"So you're Bernie Greenhouse! Every time I have a lesson, Felix says, 'Oh, I have the most wonderful talent in the world, just a great, great young talent, Bernard Greenhouse.' After awhile I began to hate you.\"\nWe both had a good laugh over this and decided that this was Salmond's way of urging us on.\nTJ: Did you continue to feel competitive with Leonard Rose after this?\nBG: Yes, there was a certain amount of competition between us, though less on my part because I knew that I wanted to study with teachers after Salmond. Leonard Rose completed his studies with him, and then pursued his career. After studying with Salmond for four years, I was ready to move on to another teacher.\nFelix Salmond was enormously gifted when it came to &34;sound.&34; Frank Miller, Victor Gotlieb, Leonard Rose -- some of the best talents in America at the time -- came away from him with a beautiful sound. Unfortunately, Salmond was not a truly great cellist himself. He was a wonderful musician and a fine artist, but his technique was very limited. Consequently, his repertoire was very limited too.\nTJ: If he wasn't a great cellist, then how did he teach so many first rate cellists?\nBG: You don't have to be a first class cellist to be an effective teacher. He kept us in line by insisting that we use all of his fingerings and bowings. You could not come into his room and make changes because you thought you had a better idea. I now think this approach was wrong because it prevented us from learning how to think for ourselves. As a result, many of his students never went beyond using his editions, and weren't terribly creative artists.\nTJ: Did he play with a more modern technique, or was he from the old school?\nBG: He was very much a product of the old school, which was why I was anxious to go beyond Salmond's teaching and to begin my studies with Emanuel Feuermann. Feuermann was a great help in developing my left hand.\nTJ: What sort of exercises did Feuermann have you work on?\nBG: He didn't work with exercises, he was mostly concerned with repertoire. He believed that concertos and other major pieces provided plenty of opportunities for technical study. He discussed and demonstrated the technique of the left hand in a completely new way, minimizing the use of extensions. Before him old-school German teachers like Klengel and Becker relied much more upon extensions, which required that you practice eight hours a day in order to build up enormous strength and endurance. With Feuermann the left hand was supple and moved freely. He showed me the technique of how to get around the instrument with minimal effort, taking advantage of arm weight when fingering.\nTJ: Did he also work with you on bow technique?\nBG: Yes, he did to a degree, but I found it extremely difficult to imitate him. He had the most natural bow arm of any cellist I've ever heard before or since. Even Heifetz admired his bow arm. I learned mostly about left hand technique from him.\nTJ: Was he a kind teacher?\nBG: He was rather sarcastic actually. In spite of this, I would hear rumors that he spoke well of me to others. But he knew how to push my buttons, and would say things like, &34;If you practice five or six hours a day for the next few years, you might play as well as Frank Miller or Leonard Rose.&34;\nTJ: Did Feuermann talk about musical issues or was he mostly a technical teacher?\nBG: He was mostly technical. He would demonstrate a great deal during lessons and would ask me to imitate him. When I attempted some of the more difficult passages he would either smile or ridicule me when I couldn't do it. He expected everybody to be able to play with the natural ease that he had. On the positive side, he provided a clear vision of how I wanted to play from a technical standpoint, which was very inspiring.\nTJ: Do you consider him to be more of a profound artist or profound technician?\nBG: I don't think of him as one of the great creative artists in history, and I didn't think so even then. I think his legacy is that nobody had been able to play the instrument with the same ease and unerring intonation before he came around. He is probably the best cellist, technically speaking, I've ever seen or heard.\nThere were three cellists who made a great impression upon me in my student days. The first was Feuermann. The second was Cassado, who had a great feeling for the instrument and a superb technique. The third was Raya Garbousova, who came from Russia and exhibited a profound technique and a wonderful performance presence. Of course, the one who was the most impressive was Feuermann. But then I became aware of Pablo Casals. When it came to making music, once you were in the presence of Casals and knew his playing, the rest faded away.\nTJ: Before we discuss Casals, you studied with one of Casals' proteges, Diran Alexanian.\nBG: Yes. I was principal cellist of the Navy Symphony Orchestra in Washington, D.C. when I first met him during the Second World War. I met Mischa Schneider, cellist of the Budapest Quartet, on a train to New York and he invited me to sit in on his lesson with Alexanian. I thought the lesson was fabulous so I decided that every time I had a weekend pass and a chance to go to New York, I would have a lesson with Alexanian. This was the beginning of a long association with him.\nTJ: Wasn't Alexanian a pretty analytical musician?\nBG: He was extremely analytical but also very musical. Casals had chosen him as his substitute teacher at the École Normale in Paris because of his wonderful musical intuition. He had a profound influence on many of the great musicians of that era -- Fournier, Piatigorsky, Tortelier, violinist Alexander Schneider, to name a few. In fact, Feuermann never played in New York without first coming to play for Alexanian.\nHe was a superb pedagogue, but he wasn't much of a cellist. He never touched the cello during lessons, except to show an occasional fingering or something. When he did play, it usually sounded terrible, but one excused him because he was not a cellist and he didn't claim to be.\nTJ: Did you consider Alexanian's technique to be more old fashioned?\nBG: Yes, he was definitely a product of the old school. He had enormous hands, which enabled him to do things without great extensions that smaller hands would have much difficulty in achieving. He sometimes took his large reach for granted and expected others to play with his fingerings, which created difficulties with some of his students.\nHe was also an extremely intimidating character. If you didn't have a healthy self-confidence, he could overwhelm you. Raya Garbousova, for instance, went to work with him, which I think was a mistake. She came out a different person, much less self-assured. Fortunately, I wasn't afraid to challenge him. I used to spend hours arguing with him about his cello technique and the stiffness of his bow arm, which was always interesting and informative. Our discussions were always on a high level, and he treated me almost as an equal.\nTJ: How did he discuss music? Did he break down phrases note by note?\nBG: He was very detail-oriented, so much so that it wasn't always easy to understand him.\nThis reminds me of the time he and I went to Prades to see Casals after a separation of about 14 years. Casals had invited just the two of us to hear him play some sonatas with piano. Casals was so nervous to be playing for Alexanian that his knees actually shook as he picked up his cello to start.\nAlexanian and Casals eventually got involved in a discussion about a single note in the C Minor Bach Suite, which lasted about half an hour. They couldn't come to an agreement as to which note was the key note of a particular phrase. Three months later I was in New York at Alexanian's home, and he showed me a postcard from Casals that said, &34;I think now, Diran, that you were right about that note in the C minor.&34; Three months later!\nTJ: Looking back, do you think that Alexanian's highly analytical approach may have been a little extreme?\nBG: I think it was rather extreme. He had a hard time getting through to many of his students because of this. He could be a bit unforgiving if you didn't follow him. If you didn't have the technical ability to keep up with him it could be disastrous. He insisted on his way of playing and his way of making music.\nTJ: How did you end up studying with Casals?\nBG: Alexanian helped to arrange a meeting with Casals. He wrote a letter to Casals in Prades, asking whether he would listen to me play and perhaps give me some lessons. Casals wrote back that he couldn't, since he was too busy taking care of exiles from Franco's Spain. With that letter I decided that I would go to Fontainebleau to study with Hekking, in the hopes that I would get another opportunity to study with Casals. When I arrived in Paris, I sent a letter to Casals asking whether he would at least listen to me play once. He sent a postcard back saying that, if I would donate $100 to Spanish charities and come to Prades on such and such a day, he would listen to me.\nSo I met him in Prades and had a nice talk with him for about a half hour. He asked me to come back the next day and play for him then. When I returned the following day I was shaking like a leaf. He noticed that I was very nervous, so he said, &34;You take your cello out and warm up a little bit. I'll come back in a few moments.&34;\nAs I warmed up, I gradually started to feel a little better. After twenty minutes went by, I noticed that Casals hadn't yet returned. I turned my head and saw his head in the doorway. He was standing just outside the door with the door opened a crack. He had been listening the whole time. He walked into the room, smiled, and said &34;I wanted to hear you play when you weren't nervous.&34; I'll never forget his wonderful sensitivity to my feelings.\nThen he asked me to play many things in the cello repertoire. He wanted to hear the Haydn D Major Concerto, the Brahms F Major Sonata, and some Bach, of course. After 45 minutes or so he told me to put away the cello so we could talk. He said, &34;I would like to send you to a great artist because I believe in the apprentice system, the association of a youngster with an artist. Unfortunately, I don't know who to send you to. But if you agree to stay in the village for at least six months and take several lessons, perhaps two or three lessons per week, I'll teach you.&34;\nThat, of course, was a great moment for me. For weeks I didn't even send for my things in Paris. I just stayed on and began my work with him, which was the most wonderful time of my life. I stayed there most of the year, returned to America to play some concerts, and then went back to study with him for another seven months.\nTJ: Did he dictate bowings and fingerings?\nBG: Definitely. I studied Bach's D minor Suite for three weeks. He insisted on certain bowings and fingerings for each movement, which meant that I had to write into my part exactly what he did. We went through the entire suite in this manner. After a while, this started to bother me, so I finally said to him, &34;Mr. Casals, I am concerned that I will end up being just a poor imitation of you.&34;\nHe replied, &34;Don't you worry about that. You just put your cello down and listen.&34;\nHe then played the entire D minor Suite, changing all the bowings and fingerings from what he had taught me during the last three weeks. I sat there absolutely aghast as he finished. He smiled and said, &34;Now that's the real lesson of how to play Bach. You must learn it so well that you remember every single idea that you have had in your practice. Then you forget everything and improvise.&34;\nThis was very difficult to do, especially after such rigid training the prior three weeks, but it was a profound lesson. I eventually played each Suite in a recital in New York, but it took me a whole year to learn each one to the point where I felt I could improvise as I played.\nTJ: Did he work on technical issues with you?\nBG: He didn't work on technique with me. He felt that I had a good command of the instrument. I did get the idea of using arm weight when bowing from him. He was very complimentary about my cello playing, though not so much about my music making. For instance, one time he told me that I sounded a little too much like Kreisler, which meant that he didn't like my style of playing. I had been greatly influenced by the Viennese musicality of Fritz Kreisler, and it was part of my playing at the time.\nTJ: He didn't like Kreisler's playing?\nBG: He loved Kreisler's playing, but he didn't want me to imitate him. He had a great friendship with Kreisler, but the Viennese style was not for him.\nTJ: Do you consider Casals' technique to be more old fashioned or more modern?\nBG: He was modern to a great extent. He had a great fluidity in his playing, which was very different from the Klengel or Becker school. He didn't play with the ease of Feuermann, since his hands were smaller and rather pudgy, though enormously strong, but nobody could play like Feuermann at the time.\nTJ: Did Casals play differently live than on recordings?\nBG: Definitely. Some of his recordings, especially the encore pieces, sound a little exaggerated. I never heard him play that way, live. I studied with him when he was 70 years old and still had enormous ability on the cello. As he got older, his playing became more exaggerated and less accurate, which is when many of his recordings were made. But when I studied with him, his playing was still wonderful and I never heard anything that was less than musically superb.\nTJ: So we shouldn't really judge him by his recordings?\nBG: Definitely not. Once in a while you'll hear something so exaggerated that it makes you jump out of your chair, especially in the later recordings. But there are also recordings, especially the earlier ones, like of the Chopin Nocturnes, that are splendid. In these recordings, you hear musicality that is unsurpassed. Nobody could ever match his level of artistry.\nTJ: What was he like as a person?\nBG: He was very genial, though at times he could be very stern. His stern side didn't usually come out when music was discussed, though he was very insistent on his ideas. It came out for issues outside of music. He was very firm about people who didn't understand that Franco was a tyrant. When it came to politics, for instance, his jaw would tighten any time we spoke about what was happening politically in France or America. He was very disturbed that the United States recognized Franco. Of course I was very much influenced by his political ideas.\nTJ: When you finished your studies with Casals, did you pursue a solo career?\nBG: I did for 12 years, but it was very difficult. The cello was not a very popular instrument in the United States at that time. There were two main cellists in the United States -- Piatigorsky, who was doing fairly well, and Feuermann, who really struggled, only playing twelve concerts in the season before he died. Piatigorsky performed quite a bit, but he didn't really have a full scale career like the major cellists of today, such as Rostropovich or Yo-Yo Ma. Agents weren't interested in booking cellists, and orchestras would often only engage one cellist per year, if that. I really struggled.\nIn order to make ends meet, I joined the Bach Aria group, which afforded me some financial security as well as giving me the great pleasure of playing some of the Bach Cantatas, which have some wonderful cello arias.\nDuring this time, violinist Daniel Guilet asked me if I would like to record some Mozart trios with pianist Menahem Pressler, who was in Israel at the time. I didn't know Pressler's playing, but Guilet was very enthusiastic about him. Later, when I was recording the Haydn D Major Concerto with the Indianapolis Orchestra for MGM Records, Guilet contacted me, suggesting that I ask Pressler if he'd be willing to come to New York and do some recordings. Eventually we all met in New York, started rehearsing, and formed what was to become the Beaux Arts Trio.\nTJ: Do you find that you have to expend a lot of energy just to be heard as a cellist in a piano trio?\nBG: That depends more upon the pianist than the cellist. We were fortunate to have a really superb pianist who had a sense of sound color in the piano, which enabled the other instruments -- the violin and the cello -- to be heard. He would never overpower us.\nTJ: As a cellist in a piano trio, you spend a lot of time doubling the pianist's left hand, particularly in the Haydn trios.\nBG: That's true, but I actually think I had more influence on the performance of the Haydn trios because I had more time to think about the music, instead of worrying about technique. Of course, there is plenty of beauty and difficulty in the rest of the piano trio literature to keep me busy.\nTJ: The Beaux Arts Trio was one of the first professional full-time traveling piano trios. Was it difficult finding work?\nBG: It wasn't easy in the beginning. Piano trios were not accepted in the chamber music world, which embraced string quartets for the most part. In our first season, our managers got us 80 or so concerts, but 75 were community concerts. We didn't mind at the time since we were busy learning repertoire. Eventually, we became accepted as a professional chamber group and we were able to give up the community concerts and play for fine chamber music societies throughout the world.\nTJ: Do you think that the art of phrasing and rubato is becoming extinct?\nBG: I wish that I could say that it still exists, but I find that there's less and less communication in phrasing, less individuality, and less creativity. Instrumental technique, whether for piano, violin, or cello, has increased enormously. We now have hundreds of cellists with technique that would have been called astounding 75 years ago. We have 13-year-old prodigies who would have been considered musical geniuses 50 years ago because of their fabulous technique. We now have the means to produce music with an ease that was unheard of when I was a young man.\nThe problem is that I cannot tell the difference between the finest talents anymore. When I listen to a recent recording, I can't tell who's playing, since they sound mostly the same. Occasionally I'll hear a moment of creativity and individuality, but it still lacks the stamp of an individual artist. Young people want desperately to succeed, so they imitate success without trying to find a way of speaking the language of music for themselves. Copying success can be very destructive.\nTJ: In your videotape, \"Cello Master Class with Bernard Greenhouse,\" you said something like, &34;We must wake up to the fact that there is more to cello than a beautiful sound. We must learn how to build phrases.&34;\nBG: Exactly. I try to zero in on this very idea with my own students. We must develop a freedom of expression that is personal, that has nothing to do with what we hear others do. There are special techniques for making music that have to be learned, and can be used to create one's own musical style. These techniques are difficult to learn today because those who studied with the really creative and individualistic artists of our past, like Casals, Szigeti, and Enesco, are largely gone, and are not around to fight the trend towards musical uniformity. In my own teaching, I am trying to revive an interest in the technique of phrasing and music making so that talented musicians can put their fantastic technique to good use.\nTJ: In your video tape, you also said, &34;Everything in music has to have an architectural feeling about it.&34; What does this mean?\nBG: There is a structure involved in building a performance. You start by building a simple phrase, then another, then another, and so on. You then combine these phrases to build a structure for the overall work. When done well, this approach will result in an &34;architectural&34; feeling in the work, since each phrase will have context within the overall work.\nCasals emphasized the &34;arch&34; in music making. Each phrase has a beginning, reaches the top in a beautiful arching way, and then comes down to the starting point. He called these &34;rainbows.&34; He was very insistent that every phrase have this feeling of motion toward the top, and then a receding motion to the bottom. Each piece consists of smaller rainbows that are part of larger rainbows, which gives the piece a sense of form. This is what he called the &34;architecture&34; of building phrases.\nTJ: You also mentioned that there are &34;consonants&34; and &34;vowels&34; in music. What are these?\nBG: This relates to another concept that Casals emphasized -- articulation. He insisted that every note have a definite beginning, even if it was to be played pianissimo. A consonant is heard when the finger audibly comes down on the instrument, giving the note a sharp beginning. A vowel is played when the finger is placed less percussively, giving the note a milder beginning. In other words, a consonant is more articulated.\nTJ: You caution your students to not become overly involved in the beauty of the music, to not lose control their emotions. Why?\nBG: I have to be careful how I explain this to my students. Of course, you must be emotionally involved in the music, but there is a limit. You don't want to start crying while you play. If you show that much emotion, you take it away from your audience. Your goal is to get the audience members to feel these emotions, not for you to distract them with your own display of feelings. There have been times when I have been extremely successful in creating a beautiful phrase, and I have seen people take out a handkerchief to wipe a tear away, which is a tremendous compliment. But it's enormously difficult to be overly expressive if you let your own emotions go, since you also lose technical control. You tend to lose your audience too, since they can be repelled by such displays.\nTJ: How do you go about analyzing the pieces you play?\nBG: I try to develop an understanding between myself and the composer, which doesn't necessarily come through highly theoretical analysis. Remember that we are playing beautiful music, not studying mathematics. My goal is to attain a sympathetic feeling toward the music, which then shows me the path towards more technical analysis if necessary. For instance, when I study the Beethoven G minor Sonata, I begin to understand each phrase when I develop a sympathy for what Beethoven is trying to say, and what he may have been feeling as he composed. I don't think of my approach as the kind of analysis that one would do in a music theory class.\nTJ: Why do you encourage people to play closer to the bridge with the bow, particularly when playing forte?\nBG: Moving the bow closer to the bridge creates a sound that has more of a forte character, much more than what one achieves when playing midway between the bridge and the fingerboard. When one plays forte closer to the fingerboard, it sounds like the cello is being forced to do something that it doesn't want to, like shouting with one's hand over one's mouth.\nMy priority is to have an enormous range of tonal colors. You can't be fully expressive without having a wide palette of colors available. The speed of the bow, the position of the bow, and the amount of pressure are the three primary things we can vary to alter the tonal colors on the instrument. Like a painter who mixes his colors on his palette, we mix ours with the bow.\nI don't ask people to play closer to the bridge because I want to hear a &34;bigger&34; sound. The cello is not a trombone or a trumpet, and there's a limit to how much sound one can get out of the cello. I think my fine colleague, Rostropovich, has shown us the limit. I'm impressed by tonal variety, not sheer volume.\nTJ: You take advantage of arm weight when you play, in both arms.\nBG: Definitely. But arm weight is not the most important thing, it's being able to attach the weight of the arm to the spine, since the back has an enormous influence on the ease of playing, a notion I got from Feuermann and Casals. The smaller the amount of body you use, the more difficult it is to play with strength. When the back is more involved, you achieve a feeling of freedom and power that you cannot attain when you play only with your arms, hands, and fingers. The motion should starts from the back, not from the arm or shoulder. When you put your finger down, for instance, it's not the finger that is creating the strength, it's your back that's pulling the finger down. You should use the large muscles of your body in order to create the ease and strength.\nTJ: How do you achieve subtle shades of vibrato, if you use arm weight and your back as the primary ingredients for any motion? The large muscles are not known for their subtlety.\nBG: Vibrato doesn't depend on strength as much as it does from which part of the arm you're using. If you're on the C string, your entire arm should be used, since the C string requires a wider vibrato in order to be discernable. If you play on the A string in the lower positions, and if you want a luscious sound, you should use a movement that hinges more at the elbow. If you play in the upper registers of the cello, the wrist becomes more important. As you can see, there isn't only one type of vibrato motion, there's an enormous variety of vibrato types that vary depending on where you are playing on the cello, not to mention the shades of vibrato available when you strive for a variety of tonal colors.\nRemember also that the bow is always working in conjunction with the left hand. There is as much crescendo or diminuendo in the left hand as there is in the bow. The right and left arms always work together to create sound.\nAnd most important, we mustn't forget that the goal of all this technical discussion is to create music that says something, not just to play with a beautiful sound. I implore all musicians to express their unique inner selves deeply and creatively. Don't look to recordings or to your neighbor for answers, study the score, learn about the composer, and look inside yourselves.\n11/28/98\n|Direct correspondence to the appropriate ICS\nStaff |\nWebmaster: \"webmaster\" Associate Webmaster: webmaster\nDirector: John Michel\nCopyright © 1995- Internet Cello Society", null, "On a cold day last winter, an ailing Bernard Greenhouse, wearing an elegant bathrobe and attached to oxygen, was wheeled into the living room of his\n“And then he laid down the bow and praised the cello for its beauty,” Nicholas Delbanco, Greenhouse’s son-in-law, recounted. “He said it had been his lifelong companion and the darling of his heart.” Indeed, the instrument, known as the Countess of Stainlein, ex-Paganini of 1707 — perhaps the greatest surviving Stradivarius cello — had been with Greenhouse for 54 years. It was his voice on numerous recordings and a presence at up to 200 concerts a year. Toward the end of his life, Greenhouse asked his nurses to lay the instrument next to him in bed.\nBut in a twist of exquisite poignancy, Greenhouse was not actually playing his precious cello that day on Cape Cod. It was an exact replica that was made especially for him, a beautiful instrument but not the Strad. As they listened to him talk of his love for the cello, his daughter Elena Delbanco and her husband grieved that he could not tell he was playing the substitute. “We knew that this was the beginning of the end,” Nicholas Delbanco said. Five months later, Greenhouse died.\nDespite saying that he wanted to sell his cello while he was still alive so that a worthy young musician might benefit from it, Greenhouse was unable to part with it. Now his family has entrusted the sale of the Countess of Stainlein to the\nMuch attention in the music world is given to the sale of Strads and other rare string instruments. The numbers are tallied up like baseball records: $15.9 million for the 1721 Lady Blunt Stradivarius violin this year; more than $10 million for the Kochanski Guarneri del Gesu in 2009. Reuning expects that the Greenhouse cello will match or exceed the previous record of $6 million for a cello. Behind the dollar figures, though, is a story of possession and loss, of performers giving up the instruments that have defined their artistic and emotional selves.Continue reading the main story\n“It was the pride of his life,” Elena Delbanco, a lecturer at the\n“I would like him, were he around, to think that we did the right thing and be happy where the cello went,” she continued. “I would like it to be loved as much by its next owner as it was by my father.”\nThe master makers of bowed instruments flourished in northern\nWhile researchers have suggested that it can be difficult to tell the difference in sound between old and new instruments, dealers certainly benefit from the mystique that keeps prices high. And musicians themselves talk of the old violins and cellos as repositories of secrets to be slowly discovered, sources of limitless color and nuance. Here is Greenhouse describing his instrument’s sound, as recounted in “The Countess of Stanlein Restored: A History of the Countess of Stanlein ex-Paganini Stradivarius Cello of 1707,” a book by Nicholas Delbanco that uses an alternate spelling of the cello’s name: “The quality of sound is something that one wears, that adorns an individual as though it were a beautiful piece of apparel. The ear can be deceiving sometimes; sometimes I’ll pick up one of the lovely modern celli in the morning and be very happy with it, but in the afternoon I’ll ask what could possibly have pleased me.” Sound is not fixed, Greenhouse said, “but with my Strad there was never a time when I’ve been disappointed.” Greenhouse was a player of refinement and introspection. In a Beaux Arts recording of\nBeyond their sound, though, the old instruments encapsulate history, passing through the hands of the world’s great performers. The history of the Greenhouse cello has been traced to 1816 and Vincenzo Merighi, the son of a violin maker who played in La Scala’s orchestra, becoming its principal cellist in 1823. Merighi later played quartets with Paganini, who bought the cello for his collection. The collection was consigned by his son, Achille Paganini, to a\nCount Louis Charles Georges Corneille de Stainlein-Saalenstein, an amateur musician and a host of musicales, appears to have acquired the cello in 1854, and it then passed to the Countess of Stainlein. After her death in 1908, Paul Grummer, a future cellist in the famed Busch Quartet, took possession. A collector in Aachen, Dr. George Talbot, bought the cello from Grummer in 1938. Nineteen years later, Greenhouse heard about the instrument and tracked it down. “I opened the cello case and fell immediately in love,” he says in Delbanco’s book. “The color of the varnish, the shape of the instrument, it was so beautiful, so very beautiful, and it seemed to me a great jewel.” He paid what his daughter Elena described as a fortune for the time, although a tiny fraction of what it’s worth today.\nThrough the optic of history, those in possession of these instruments are caretakers, not owners. For their players, the transfer to the next caretaker symbolizes the end of performing, the termination of an artistic prime, the memories of which reside in long-used instruments. “The violin is not only a friend,” said Aaron Rosand, 84, once a prominent soloist in the tradition of the great Romantics like Oistrakh, Milstein and Heifetz. “It’s something that you live with. Every day it becomes more dear to you. It’s almost like a living thing. You treat it carefully; you treat it gently. It talks to you,” he said. “You’re caressing your instrument all the time. Parting with an instrument that has become such a wonderful friend is just like losing a member of your family.”\nIn 2007, Rosand announced that he planned to sell his Guarneri del Gesu, the Kochanski, and donate $1.5 million of the proceeds to the Curtis Institute of Music, where he studied and continues to teach. He recently had back surgery and could no longer stand long enough to perform. “It didn’t make any sense to tie it up,” he said. Over the next couple of years, Rosand received offers, including some from noted players who came to try it out. “I could hardly bear to hear it played by someone else,” he said. But their offers were not large enough. “I wasn’t going to part with it just for admiration for someone’s fiddle playing. Once I decided to sell it, I wanted to get the price for it.”\nThen he received a visit from a man he described as a Russian oligarch. Working through the dealer Peter Biddulph, Rosand flew to\n“It’s hard to completely express what it meant to me,” Rosand told me last month when I spoke with him about letting his instrument go. “The agony, the tears I shed on just thinking about the parting.” He made good on his pledge to Curtis, paid $2 million in\nSome musicians have taken other routes. Several years before his death,\nThe conductor\nRaphael Hillyer, the founding violist of the Juilliard String Quartet, was in his 90s and repeatedly spoke of his plans to sell his viola, a late-16th-century Gasparo da Salò. Twice, Hillyer summoned Christopher Reuning to his home in order to hand over the instrument. The last time was in November 2010. Reuning went to Hillyer’s apartment in downtown Boston. The violist was seated at the dining-room table. He held his instrument up and offered it to the dealer to hold. Documents were spread out on the dining table. Hillyer asked Reuning a series of questions: What would it sell for? What is the commission? How long would it take? They talked for more than an hour, with Hillyer returning again and again to the same questions.\n“He sat there clutching it in his hands,” Reuning recalled. “I realized he was not ready to give it up. I told him, Why don’t you keep your viola and we’ll talk again sometime?” They made another appointment for just after Christmas, but Hillyer died on Dec. 27, at age 96.\n“It’s inconceivable that my father ever would have let it go,” Jonathan Hillyer told me. “I think his life would have ended immediately if he did such a thing. It’s part of what kept him alive. He played it every day, even when it got to be so painful to pick it up. It was his life force. If he had sold it, it would have been like he was giving up.”\nOne day last month I met with the cellist Laurence Lesser in a barren practice room at the offices of the\nWe talked at length about Greenhouse, whom Lesser described as a friend, and about the nature of musician-instrument relationships. I asked him to describe the sound of his Amati, and Lesser looked at me and said, correctly, “You want to hear it, right?”\nHe carefully removed the 400-year-old instrument from its case and pulled off a burgundy silk bag. Then he began to play, producing the extraordinarily mellow sound, singing but complicated, that musicians say is typical of the great instruments.\n“I don’t know how long I’m going to be playing,” he said after he was done. “I may have huge medical expenses, I may need the money it will bring. How can I predict that? I don’t know how I’m going to die or when, or what’s going to happen in the family.”\nHe had no intention of selling, he said, but if he did, it would be like selling his old house. Once out, you move on. “I’m not sentimental about these things,” he said. “It’s almost a person, but I still value people more than things.” But as Lesser talked more about his Amati, the complicated nature of his attachment to it became more apparent.\n“We respond to these old instruments because they feed us, they inspire us,” he said. “Life has so many possibilities and such endless richness that unless you just shut down, you’re always going to learn from the environment. For us string players, our instruments are our environment. It keeps stretching us, it keeps demanding of us, it keeps us aspiring to grow. And it’s the same old wooden box. I know I love playing on this cello, and I love it now more than I ever did.”\nIn early December, I visited Reuning’s shop on the fourth floor of a generic office building in Boston’s Back Bay. Inside, though, is the re-creation of an Old World luthier’s shop. Violins and violas hang like bats in a glass-and-dark-wood cabinet. Stringed instruments in various stages of undress lie on work tables in the restoration room. The Paganini, Countess of Stainlein cello didn’t fit in the shop’s safe, so it sat in a corner in its scuffed black case. Reuning took it out of its case and brushed his fingers over its glowing, almost iridescent back. “This varnish is absolutely glorious,” he said. He pointed out the Forma B’s extra-high ribs, which make the cello thicker and create greater volume and resonance. The back is made of an expanse of maple, with its “flames,” or rows of tiger stripes, so beautiful that other violin makers would recreate them with varnish on cheaper models made with poplar or willow.\nHeirs entrusted with the sale of such instruments stand to make a significant amount of money, but they’re also left with an enormous responsibility. “I began to worry about what was going to happen to it,” Elena Delbanco told me. “Really worry, that somehow it would come to harm or I would make bad decisions about how to sell it, or it would end up somewhere where it wouldn’t be played again.”\nSo Reuning — who will receive a commission — devised an unusual sale in which the Delbancos would have an opportunity to review the sealed bids, giving them a chance to accept a lower offer if they felt it better honored the cello. That is, if they believed a lower bidder, like an investing consortium that lends out instruments, might mean it was more likely to be played.\n“What we’re hoping for is a bid that also makes emotional sense,” Elena Delbanco said, “so that we feel really happy that some wonderful young talent is going to play it.”\nI asked her what she would do if confronted with a $7 million bid that meant the Strad would stay in the case and a $5 million bid that ensured it would be played. The extra money, she acknowledged, could be put to philanthropic uses — buying instruments for needy children, for example. “It would be amazing to do good,” she said. “But you can’t do good at the expense of the cello’s future.” At the same time, they don’t want the Strad buried in a museum or in an oligarch’s vault. “That would make us sad,” she said, “but we understand we may not have control over that.” Ultimately, she acknowledged, they would have to accept that the cello now had a caretaker other than her father or his family. “Once it’s out of our hands,” she said, “what can we do?”\nAn article on Jan. 15 about a 300-year-old cello and its travels over the years misidentifi ed the instrument acquired by a collector from Aachen, Germany, in 1938. It was the cello itself, not a violin.", null, null, null, null, null, null ], "qa_pairs": [ { "question": [ "who was the founding member of the beaux arts trio", "bernard greenhouse was a founding member of which group", "when did bernard greenhouse die", "what year did bernard greenhouse die", "who was the founder of the beaux arts trio" ], "en_answer": [ "Bernard Greenhouse", "Beaux Arts Trio", "January 3 , 1916", "1916", "Greenhouse" ], "lang_answer": [ "Bernard Greenhouse", "Beaux Arts Trio", "3 Januarie 1916 – 13 Mei 2011 ) was ' n Amerikaanse tjellis", "1916", "Greenhouse" ], "frames": [ { "frame": [], "argument": [] }, { "frame": [], "argument": [] }, { "frame": [], "argument": [] }, { "frame": [], "argument": [] }, { "frame": [], "argument": [] } ], "en_matches_in_source": [ [ [ 138, 156 ] ], [ [ 176, 191 ] ], [], [ [ 805, 809 ], [ 894, 898 ] ], [ [ 146, 156 ] ] ], "en_match_in_passage": [ [ 0, 18 ], [ 119, 134 ], [ 21, 37 ], [ 33, 37 ], [ 8, 18 ] ], "lang_matches_in_source": 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"Newark", "Newark , New Jersey", "New Jersey", "Life and career Greenhouse", "Greenhouse", "Life and career", "Newark , New Jersey ." ], "lang_answer": [ "Newark", "Newark , New Jersey", "New Jersey", "Lewe en loopbaan Greenhouse", "Greenhouse", "Lewe en loopbaan", "Newark , New Jersey ." ], "frames": [ { "frame": [], "argument": [] }, { "frame": [], "argument": [] }, { "frame": [], "argument": [] }, { "frame": [], "argument": [] }, { "frame": [], "argument": [] }, { "frame": [], "argument": [] }, { "frame": [], "argument": [] } ], "en_matches_in_source": [ [], [], [], [], [], [], [] ], "en_match_in_passage": [ [ 39, 45 ], [ 39, 58 ], [ 48, 58 ], [ 0, 26 ], [ 16, 26 ], [ 0, 15 ], [ 39, 60 ] ], "lang_matches_in_source": [ [], [], [], [], [], [], [] ], "lang_match_in_passage": [ [ 7, 7 ], [ 7, 10 ], [ 9, 10 ], [ 0, 3 ], [ 3, 3 ], [ 0, 2 ], [ 7, 11 ] ], "passage": [ [ " Life and career Greenhouse was born in Newark , New Jersey .\n" ], [ " Life and career Greenhouse was born in Newark , New Jersey .\n" ], [ " Life and career Greenhouse was born in Newark , New Jersey .\n" ], [ " Life and career Greenhouse was born in Newark , New Jersey .\n" ], [ " Life and career Greenhouse was born in Newark , New Jersey .\n" ], [ " Life and career Greenhouse was born in Newark , New Jersey .\n" ], [ " Life and career Greenhouse was born in Newark , New Jersey .\n" ] ], "en_answer_tokens": [ [ "Newark" ], [ "Newark", ",", "New", "Jersey" ], [ "New", "Jersey" ], [ "Life", "and", "career", "Greenhouse" ], [ "Greenhouse" ], [ "Life", "and", "career" ], [ "Newark", ",", "New", "Jersey", "." ] ], "match_disambiguated_question": [ "in which new jersey city was bernard greenhouse born", "where was bernard greenhouse born and raised", "bernard greenhouse was born in which us state", "what is the real name of bernard greenhouse", "born in newark, new jersey, what was bernard's real name", "what was bernard greenhouse's career", "bernard greenhouse was born in which new jersey city" ] }, { "question": [ "who did bernard greenhouse study under at the juilliard school", "how old was bernard greenhouse when he started his music career", "where did bernard greenhouse go to school", "when did bernard greenhouse start his education" ], "en_answer": [ "Felix Salmond", "eighteen", "Juilliard School", "eighteen years old" ], "lang_answer": [ "Felix Salmond", "agtien", "skool begin toe hy agtien", "agtien jaar oud" ], "frames": [ { "frame": [], "argument": [] }, { "frame": [], "argument": [] }, { "frame": [], "argument": [] }, { "frame": [], "argument": [] } ], "en_matches_in_source": [ [ [ 1117, 1130 ], [ 1351, 1364 ], [ 3153, 3166 ] ], [], [], [] ], "en_match_in_passage": [ [ 101, 114 ], [ 151, 159 ], [ 122, 138 ], [ 151, 169 ] ], "lang_matches_in_source": [ [ [ 1117, 1130 ], [ 1351, 1364 ], [ 3153, 3166 ] ], [], [], [] ], "lang_match_in_passage": [ [ 18, 19 ], [ 28, 28 ], [ 24, 28 ], [ 28, 30 ] ], "passage": [ [ " Life and career Greenhouse was born in Newark , New Jersey .\n", " He began his professional studies under Felix Salmond at the Juilliard School when he was eighteen years old .\n" ], [ " Life and career Greenhouse was born in Newark , New Jersey .\n", " He began his professional studies under Felix Salmond at the Juilliard School when he was eighteen years old .\n" ], [ " Life and career Greenhouse was born in Newark , New Jersey .\n", " He began his professional studies under Felix Salmond at the Juilliard School when he was eighteen years old .\n" ], [ " Life and career Greenhouse was born in Newark , New Jersey .\n", " He began his professional studies under Felix Salmond at the Juilliard School when he was eighteen years old .\n" ] ], "en_answer_tokens": [ [ "Felix", "Salmond" ], [ "eighteen" ], [ "Juilliard", "School" ], [ "eighteen", "years", "old" ] ], "match_disambiguated_question": [ "who did bernard greenhouse study under at the juilliard school", "how old was bernard greenhouse when Bernard Greenhouse started his music career", "where did bernard greenhouse go to school", "when did bernard greenhouse start his education" ] }, { "question": [ "when did bernard greenhouse buy the countess of stanlein", "the countess of stanlein is also known by what name", "how many cellos does bernard greenhouse play", "bernard greenhouse purchased which famous piece of music in 1958", "which piece of music did bernard greenhouse purchase in 1958", "bernard greenhouse purchased the countess of stanlein, also known as", "who played the countess of stanlein" ], "en_answer": [ "1958", "Paganini Strad", "63", "Countess of Stanlein", "the Countess of Stanlein", "Antonio Stradivari", "Greenhouse" ], "lang_answer": [ "1958", "Paganini Strad", "63", "Countess of Stanlein", "Countess of Stanlein", "Antonio Stradivari", "Greenhouse" ], "frames": [ { "frame": [], "argument": [] }, { "frame": [], "argument": [] }, { "frame": [], "argument": [] }, { "frame": [], "argument": [] }, { "frame": [], "argument": [] }, { "frame": [], "argument": [] }, { 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known as the Paganini Strad , which is one of 63 of Antonio Stradivari 's cellos , and subsequently played it .\n" ], [ " In 1958 , Greenhouse purchased the Countess of Stanlein , also known as the Paganini Strad , which is one of 63 of Antonio Stradivari 's cellos , and subsequently played it .\n" ], [ " In 1958 , Greenhouse purchased the Countess of Stanlein , also known as the Paganini Strad , which is one of 63 of Antonio Stradivari 's cellos , and subsequently played it .\n" ], [ " In 1958 , Greenhouse purchased the Countess of Stanlein , also known as the Paganini Strad , which is one of 63 of Antonio Stradivari 's cellos , and subsequently played it .\n" ] ], "en_answer_tokens": [ [ "1958" ], [ "Paganini", "Strad" ], [ "63" ], [ "Countess", "of", "Stanlein" ], [ "the", "Countess", "of", "Stanlein" ], [ "Antonio", "Stradivari" ], [ "Greenhouse" ] ], "match_disambiguated_question": [ "when did bernard greenhouse buy the countess of stanlein", "the countess of stanlein is also 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interview , broadcast August 21 , 2008 .\n", " After his death it was to be sold by Boston violin dealer Christopher Reuning .\n" ], [ " \" Bernard Greenhouse : A Master And His Cello \" All Things Considered Diaries interview , broadcast August 21 , 2008 .\n", " After his death it was to be sold by Boston violin dealer Christopher Reuning .\n" ] ], "en_answer_tokens": [ [ "Christopher", "Reuning" ], [ "Bernard", "Greenhouse" ], [ "August", "21", ",", "2008" ], [ "All", "Things", "Considered", "Diaries" ], [ "Boston" ], [ "Boston", "violin", "dealer" ], [ "Boston", "violin", "dealer", "Christopher", "Reuning" ] ], "match_disambiguated_question": [ "who bought bernard greenhouse's violin after his death", "which boston violinist was known as ‘the master of his cello�", "when was bernard greenhouse's all things considered diaries broadcast", "what was bernard greenhouse's autobiography called", "in which city was bernard greenhouse born", "what was bernard greenhouse's profession", "who sold bernard greenhouse's violin after his death" ] }, { "question": [ "who replaced bernard greenhouse in the group", "when did bernard greenhouse leave the band", "who replaced bernard greenhouse in the band", "who replaced bernard greenhouse as lead singer of the jazz trio", "what was bernard greenhouse's original name" ], "en_answer": [ "Peter Wiley", "1987", "cellist Peter Wiley", "Peter Wiley .", "the trio" ], "lang_answer": [ "Peter Wiley", "1987", "tjellis Peter Wiley", "Peter Wiley .", "trio" ], "frames": [ { "frame": [], "argument": [] }, { "frame": [], "argument": [] }, { "frame": [], "argument": [] }, { "frame": [], "argument": [] }, { "frame": [], "argument": [] } ], "en_matches_in_source": [ [], [], [], [], [] ], "en_match_in_passage": [ [ 53, 64 ], [ 3, 7 ], [ 45, 64 ], [ 53, 66 ], [ 16, 24 ] ], "lang_matches_in_source": [ [], [], [], [], [] ], "lang_match_in_passage": [ [ 13, 14 ], [ 1, 1 ], [ 12, 14 ], [ 13, 15 ], [ 5, 5 ] ], "passage": [ [ " In 1987 he left the trio and was replaced by cellist Peter Wiley .\n" ], [ " In 1987 he left the trio and was replaced by cellist Peter Wiley .\n" ], [ " In 1987 he left the trio and was replaced by cellist Peter Wiley .\n" ], [ " In 1987 he left the trio and was replaced by cellist Peter Wiley .\n" ], [ " In 1987 he left the trio and was replaced by cellist Peter Wiley .\n" ] ], "en_answer_tokens": [ [ "Peter", "Wiley" ], [ "1987" ], [ "cellist", "Peter", "Wiley" ], [ "Peter", "Wiley", "." ], [ "the", "trio" ] ], "match_disambiguated_question": [ "who replaced bernard greenhouse in the group", "when did bernard greenhouse leave the band", "who replaced bernard greenhouse in the band", "who replaced bernard greenhouse as lead singer of the jazz trio", "what was bernard greenhouse's original name" ] }, { "question": [ "who replaced bernard greenhouse as cellist in 1987", "when did bernard greenhouse leave the trio", "what was bernard greenhouse known for in music", "who replaced bernard greenhouse in 1987", "what was bernard greenhouse known for", "who was the cellist who left the trio in 1987 and replaced peter wiley", "bernard greenhouse was known for his impeccable what" ], "en_answer": [ "Peter Wiley", "1987", "impeccable technique", "cellist Peter Wiley", "his impeccable technique", "Greenhouse", "technique" ], "lang_answer": [ "Peter Wiley", "1987", "onberispelike tegniek", "tjellis Peter Wiley", "sy onberispelike tegniek", "Greenhouse", "tegniek" ], "frames": [ { "frame": [], "argument": [] }, { "frame": [], "argument": [] }, { "frame": [], "argument": [] }, { "frame": [], "argument": [] }, { "frame": [], "argument": [] }, { "frame": [], "argument": [] }, { "frame": [], "argument": [] } ], "en_matches_in_source": [ [], [], [], [], [], [], [] ], "en_match_in_passage": [ [ 53, 64 ], [ 3, 7 ], [ 96, 116 ], [ 45, 64 ], [ 92, 116 ], [ 67, 77 ], [ 107, 116 ] ], "lang_matches_in_source": [ [], [], [], [], [], [], [] ], "lang_match_in_passage": [ [ 13, 14 ], [ 1, 1 ], [ 21, 22 ], [ 12, 14 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.\n", " Greenhouse was known for his impeccable technique , but even more so for his inspiring passion and the depth and variety of his sound .\n" ], [ " In 1987 he left the trio and was replaced by cellist Peter Wiley .\n", " Greenhouse was known for his impeccable technique , but even more so for his inspiring passion and the depth and variety of his sound .\n" ], [ " In 1987 he left the trio and was replaced by cellist Peter Wiley .\n", " Greenhouse was known for his impeccable technique , but even more so for his inspiring passion and the depth and variety of his sound .\n" ] ], "en_answer_tokens": [ [ "Peter", "Wiley" ], [ "1987" ], [ "impeccable", "technique" ], [ "cellist", "Peter", "Wiley" ], [ "his", "impeccable", "technique" ], [ "Greenhouse" ], [ "technique" ] ], "match_disambiguated_question": [ "who replaced bernard greenhouse as cellist in 1987", "when did bernard greenhouse leave the trio", "what was bernard greenhouse known for in music", "who replaced bernard 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oldest of those who played in the trio , until at least 2015 , with Daniel Guilet having died at age 91 , “ Daniel Guilet , Violinist , Is Dead ;\n" ], [ " He said that he practices every day and is considered \" the old man of the cello \" , and that other elderly cellists were surprised that he was still performing at age 95 .\n", " Greenhouse was also the oldest of those who played in the trio , until at least 2015 , with Daniel Guilet having died at age 91 , “ Daniel Guilet , Violinist , Is Dead ;\n" ] ], "en_answer_tokens": [ [ "95" ], [ "Greenhouse" ], [ "Daniel", "Guilet" ], [ "2015" ], [ "every", "day" ], [ "the", "old", "man", "of", "the", "cello" ] ], "match_disambiguated_question": [ "how old was bernard greenhouse when Bernard Greenhouse died", "who is considered the old man of the cello", "who was the oldest of bernard greenhouse's cello trio", "when did bernard greenhouse stop playing cello", "how often does bernard greenhouse play the violin", "what is bernard greenhouse's nickname" ] }, { "question": [ "who was the youngest of bernard greenhouse's beaux arts trio", "when did bernard greenhouse leave the beaux arts trio", "who was the oldest member of the beaux arts trio" ], "en_answer": [ "Daniel Guilet", "2015", "Isidore Cohen" ], "lang_answer": [ "Daniel Guilet", "2015", "Isidore Cohen" ], "frames": [ { "frame": [], "argument": [] }, { "frame": [], "argument": [] }, { "frame": [], "argument": [] } ], "en_matches_in_source": [ [], [], [] ], "en_match_in_passage": [ [ 93, 106 ], [ 81, 85 ], [ 253, 266 ] ], "lang_matches_in_source": [ [], [], [] ], "lang_match_in_passage": [ [ 20, 21 ], [ 17, 17 ], [ 55, 56 ] ], "passage": [ [ " Greenhouse was also the eldest of those who played in that trio , until at least 2015 , with Daniel Guilet who died at the age of 91 , \" Daniel Guilet , Violinist , Is Dead ; Beaux Arts Trio Founder Was 91 \" , The New York Times , October 17 , 1990 and Isidore Cohen died at the age of 82 .\n" ], [ " Greenhouse was also the eldest of those who played in that trio , until at least 2015 , with Daniel Guilet who died at the age of 91 , \" Daniel Guilet , Violinist , Is Dead ; Beaux Arts Trio Founder Was 91 \" , The New York Times , October 17 , 1990 and Isidore Cohen died at the age of 82 .\n" ], [ " Greenhouse was also the eldest of those who played in that trio , until at least 2015 , with Daniel Guilet who died at the age of 91 , \" Daniel Guilet , Violinist , Is Dead ; Beaux Arts Trio Founder Was 91 \" , The New York Times , October 17 , 1990 and Isidore Cohen died at the age of 82 .\n" ] ], "en_answer_tokens": [ [ "Daniel", "Guilet" ], [ "2015" ], [ "Isidore", "Cohen" ] ], "match_disambiguated_question": [ "who was the youngest of bernard greenhouse's beaux arts trio", "when did bernard greenhouse leave the beaux arts trio", "who was the oldest member of the beaux arts trio" ] }, { "question": [ "when did bernard greenhouse die on cape cod", "on which massachusetts island did bernard greenhouse die", "what was bernard greenhouse's passion", "in which massachusetts harbor did bernard greenhouse die", "what is the name of cape cod, massachusetts, home to bernard green", "where is bernard greenhouse buried on cape cod" ], "en_answer": [ "May 13 , 2011", "Cape Cod", "sailing", "Wellfleet", "Wellfleet , Massachusetts", "Wellfleet , Massachusetts harbor" ], "lang_answer": [ "13 Mei 2011 in sy huis , met ' n uitsig op die Wellfleet , Massachusetts hawe op Cape Cod , gesterf .", "Cape Cod", "vaar", "Wellfleet", "Wellfleet , Massachusetts", "Wellfleet , Massachusetts hawe" ], "frames": [ { "frame": [], "argument": [] }, { "frame": [], "argument": [] }, { "frame": [], "argument": [] }, { "frame": [], "argument": [] }, { "frame": [], "argument": [] }, { "frame": [], "argument": [] } ], "en_matches_in_source": [ [], [], [], [], [], [] ], "en_match_in_passage": [ [ 75, 88 ], [ 155, 163 ], [ 33, 40 ], [ 119, 128 ], [ 119, 144 ], [ 119, 151 ] ], "lang_matches_in_source": [ [], [], [], [], [], [] ], "lang_match_in_passage": [ [ 16, 38 ], [ 34, 35 ], [ 11, 11 ], [ 29, 29 ], [ 29, 31 ], [ 29, 32 ] ], "passage": [ [ " Greenhouse 's second passion was sailing on his various boats .\n", " He died on May 13 , 2011 in his home , overlooking the Wellfleet , Massachusetts harbor on Cape Cod .\n" ], [ " Greenhouse 's second passion was sailing on his various boats .\n", " He died on May 13 , 2011 in his home , overlooking the Wellfleet , Massachusetts harbor on Cape Cod .\n" ], [ " Greenhouse 's second passion was sailing on his various boats .\n", " He died on May 13 , 2011 in his home , overlooking the Wellfleet , Massachusetts harbor on Cape Cod .\n" ], [ " Greenhouse 's second passion was sailing on his various boats .\n", " He died on May 13 , 2011 in his home , overlooking the Wellfleet , Massachusetts harbor on Cape Cod .\n" ], [ " Greenhouse 's second passion was sailing on his various boats .\n", " He died on May 13 , 2011 in his home , overlooking the Wellfleet , Massachusetts harbor on Cape Cod .\n" ], [ " Greenhouse 's second passion was sailing on his various boats .\n", " He died on May 13 , 2011 in his home , overlooking the Wellfleet , Massachusetts harbor on Cape Cod .\n" ] ], "en_answer_tokens": [ [ "May", "13", ",", "2011" ], [ "Cape", "Cod" ], [ "sailing" ], [ "Wellfleet" ], [ "Wellfleet", ",", "Massachusetts" ], [ "Wellfleet", ",", "Massachusetts", "harbor" ] ], "match_disambiguated_question": [ "when did bernard greenhouse die on cape cod", "on which massachusetts island did bernard greenhouse die", "what was bernard greenhouse's passion", "in which massachusetts harbor did bernard greenhouse die", "what is the name of cape cod, massachusetts, home to bernard green", "where is bernard greenhouse buried on cape cod" ] }, { "question": [ "who is the only graduate of bernard greenhouse", "Timothy eddy maxine neuman, paul katz, damien vent", "who is the director of bernard greenhouse", "which bernard greenhouse graduate is known as the 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], [ 8, 18 ], [ 86, 96 ], [ 138, 165 ], [ 0, 18 ], [ 97, 111 ], [ 138, 152 ], [ 112, 137 ] ], "lang_matches_in_source": [ [], [], [], [], [], [], [], [] ], "lang_match_in_passage": [ [ 24, 25 ], [ 1, 1 ], [ 14, 15 ], [ 22, 25 ], [ 0, 1 ], [ 16, 17 ], [ 22, 23 ], [ 18, 21 ] ], "passage": [ [ " Student Greenhouse 's notable students include : Timothy Eddy Maxine Neuman Paul Katz Amit Peled Damien Ventula Stjepan Hauser Uzi Wiesel Astrid Schween Kurt Baldwin\n" ], [ " Student Greenhouse 's notable students include : Timothy Eddy Maxine Neuman Paul Katz Amit Peled Damien Ventula Stjepan Hauser Uzi Wiesel Astrid Schween Kurt Baldwin\n" ], [ " Student Greenhouse 's notable students include : Timothy Eddy Maxine Neuman Paul Katz Amit Peled Damien Ventula Stjepan Hauser Uzi Wiesel Astrid Schween Kurt Baldwin\n" ], [ " Student Greenhouse 's notable students include : Timothy Eddy Maxine Neuman Paul Katz Amit Peled Damien Ventula Stjepan Hauser Uzi Wiesel Astrid Schween Kurt Baldwin\n" ], [ " Student Greenhouse 's notable students include : Timothy Eddy Maxine Neuman Paul Katz Amit Peled Damien Ventula Stjepan Hauser Uzi Wiesel Astrid Schween Kurt Baldwin\n" ], [ " Student Greenhouse 's notable students include : Timothy Eddy Maxine Neuman Paul Katz Amit Peled Damien Ventula Stjepan Hauser Uzi Wiesel Astrid Schween Kurt Baldwin\n" ], [ " Student Greenhouse 's notable students include : Timothy Eddy Maxine Neuman Paul Katz Amit Peled Damien Ventula Stjepan Hauser Uzi Wiesel Astrid Schween Kurt Baldwin\n" ], [ " Student Greenhouse 's notable students include : Timothy Eddy Maxine Neuman Paul Katz Amit Peled Damien Ventula Stjepan Hauser Uzi Wiesel Astrid Schween Kurt Baldwin\n" ] ], "en_answer_tokens": [ [ "Kurt", "Baldwin" ], [ "Greenhouse" ], [ "Amit", "Peled" ], [ "Astrid", "Schween", "Kurt", "Baldwin" ], [ "Student", "Greenhouse" ], [ "Damien", "Ventula" ], [ "Astrid", "Schween" ], [ "Stjepan", "Hauser", "Uzi", "Wiesel" ] ], "match_disambiguated_question": [ "who is the 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"Isidore Cohen"
"Isidore Cohen (16 Desember 1922, Brooklyn, New York – 23 Junie 2005, Bronx, New York) was 'n bekende kamermusikant en violis, sowel as 'n voormalige lid van die Juilliard Strykkwartet en Beaux Arts Trio. Cohen het op sesjarige ouderdom die viool begin studeer en aan die High School of Music and Art in Manhattan gegradueer, alhoewel dit sy bedoeling was om 'n dokter te word. Sy pre-mediese studies aan die Brooklyn kollege is onderbreek omdat hy in die Amerikaanse Leër in Europa tydens die Tweede Wêreldoorlog geveg het. Van toe af het sy loopbaanfokus verander. Nadat hy sy terugkeer gemaak het na die burgerlike lewe, het hy 'n student van Ivan Galamian aan die Juilliard-skool geword. Galamian het sy bedenkinge gehad oor die aanvaarding van 'n 24-jarige student, maar vir Cohen as oorlogsveteraan uithelp. Van daar af het sy lewe as musikant gedy, en selfs die aandag van Igor Stravinski getrek met sy uitvoering van Stravinski se L'Histoire du Soldat. Hy het veral bekend geword vir sy beklemtoning van die werke van moderne komponiste, en het veral nou saamgewerk aan baie stukke saam met John Cage. Cohen het vanaf die vyftigerjare gedien as konsertmeester van orkeste tydens die Casals-feeste in Frankryk en Puerto Rico, benewens verskeie ensembles in New York, insluitend die Columbia simfonieorkes. Hy was gereeld konsertmeester vir Leonard Bernstein se uitgesaaide konserte vir jongmense. Sy opvoering as konsertmeester (onder Stravinski se leierskap) van Stravinski se "Die rite van Lente" is een van die opnames op die goue plaat wat deur die voyager-ruimtetuie gedra word. In 1952 het Alexander Schneider vir Cohen uitgenooi om by die Schneider Kwartet as tweede violis aan te sluit. Tydens Cohen se termyn het die Schneider-kwartet die eerste volledige stel strykkwartette van Joseph Haydn opgeneem. In die begin van 1958 het Cohen tweede violis van die Juilliard Strykkwartet geword, welke pos hy byna 'n dekade beklee het. As lid van die kwartet het Cohen ook van 1958 tot 1966 gedien op die fakulteit op die Juilliard-skool. In 1968, na die uittrede van die violis Daniel Guilet is hy oorreed deur die pianis Menahem Pressler en die tjellis Bernard Greenhouse om by die Beaux Arts Trio aan te sluit. Teen die middel van die sewentigerjare het hulle getoer en opnames gemaak as die wêreld se bekendste klaviertrio. Gedurende Cohen se tyd met die trio is tientalle opnames vrygestel, waaronder die volledige klaviertrio's van Beethoven, Haydn, Mozart, Dvořák, Brahms, asook werke van Chopin, Pjotr Tsjaikofski, Sergei Rachmaninoff, Charles Ives, en Dmitri Sjostakowitsj. Na drie en twintig jaar as deel van die kwartet is hy as violis opgevolg deur Ida Kavafian. As onderwyser was Cohen benewens die Juilliard-skool ook betrokke by die fakulteite van talle instellings en feeste, waaronder die Aspen Musiekfees, die Curtis Institute of Music, Princeton-universiteit, SUNY in Stony Brook en die Manhattan Musiekskool. Sy langste verbintenis was met die Marlboro Musiekfees waar hy, beginnende in 1966, vir byna veertig jaar lank klasgegee het. Verwysings Kategorie:Amerikaanse musici Kategorie:Amerikaanse violiste Kategorie:Geboortes in 1922 Kategorie:Sterftes in 2005"
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"Colonia Ulpia Traiana"
"duimnael|Die arena van Colonia Ulpia Traiana se amfiteater is gerekonstrueer as deel van die Argeologiese Park Xanten (APX) duimnael|Booggange rondom die teatergebou het toegang verleen tot die sitplekke duimnael|Gerekonstrueerde woongeboue en ateljees van ambagslui Die Colonia Ulpia Traiana (CUT) was 'n Romeinse stedelike nedersetting (colonia) wat tussen 100 en 275 n.C. aan die benedeloop van die Ryn, op die stadsgebied van die huidige nedersetting Xanten in Noordryn-Wesfale, geleë was. Dit was een van die grootste en belangrikste nedersettings in die Romeinse provinsie Germania Inferior (Laer Germanië). Colonia Ulpia Traiana is deur keiser Marcus Ulpius Traianus gestig en na hom genoem. As Colonia was dit een van sowat 150 stedelike nedersettings in die Romeinse Ryk wat - as 'n soort dogterstede van Rome - die hoogste rang van stadstatus met volle burgerreg vir sy bewoners beklee het. Ulpia Traiana was die derde grootste Romeinse nedersetting noord van die Alpe na Claudia Ara Agrippinensium (die huidige Keulen) en Augusta Treverorum (Trier), met indrukwekkende openbare geboue wat sy hoë status en sy belangrike administratiewe, ekonomiese en kulturele rol vir 'n groot gebied in sy omgewing weerspieël het. Colonia Ulpia Traiana se geskiedenis word gedokumenteer in die Argeologiese Park Xanten met die LVR-Römermuseum. Argeologiese opgrawings en navorsing duur voort. Eksterne skakels Argeologiese Park Xanten - Die Romeinse stad Colonia Ulpia Traiana Kategorie:Romeinse nedersettings"
{ "id": [ "af-0000-14" ], "passage": [ { "text": [ " External links Archaeological Park Xanten - The Roman city of Colonia Ulpia Traiana\n" ], "parse": "[{\"label\": \"@@VIRTUAL_ROOT@@\", \"span\": [-1, -1], \"confidence\": 0.5678927898, \"children\": [{\"label\": \"Origin\", \"span\": [7, 7], \"confidence\": 1.0, \"children\": [{\"label\": \"Origin\", \"span\": [7, 7], \"confidence\": 1.0, \"children\": []}, {\"label\": \"Entity\", \"span\": [8, 8], \"confidence\": 1.0, \"children\": []}]}, {\"label\": \"Connecting_architecture\", \"span\": [1, 1], \"confidence\": 0.8944329023, \"children\": [{\"label\": \"Descriptor\", \"span\": [0, 0], \"confidence\": 0.9999998808, \"children\": []}]}, {\"label\": \"Political_locales\", \"span\": [8, 8], \"confidence\": 1.0, \"children\": [{\"label\": \"Container_possessor\", \"span\": [7, 7], \"confidence\": 0.999992609, \"children\": []}, {\"label\": \"Locale\", \"span\": [8, 8], \"confidence\": 1.0, \"children\": []}, {\"label\": \"Name\", \"span\": [9, 12], \"confidence\": 1.0, \"children\": []}]}]}]", "en_tokens": [ "External", "links", "Archaeological", "Park", "Xanten", "-", "The", "Roman", "city", "of", "Colonia", "Ulpia", "Traiana" ], "lang_tokens": [ "Eksterne", "skakels", "Argeologiese", "Park", "Xanten", "-", "Die", "Romeinse", "stad", "Colonia", "Ulpia", "Traiana" ], "en_lang_token_map": [ [ 0, 0 ], [ 1, 1 ], [ 2, 7 ], [ 3, 3 ], [ 4, 4 ], [ 5, 5 ], [ 7, 7 ], [ 8, 8 ], [ 10, 9 ], [ 11, 10 ], [ 12, 11 ] ] } ], "mt": [ { "original": "Eksterne skakels Argeologiese Park Xanten - Die Romeinse stad Colonia Ulpia Traiana", "original_sents": [ "Eksterne skakels Argeologiese Park Xanten - Die Romeinse stad Colonia Ulpia Traiana " ], "translation": " External links Archaeological Park Xanten - The Roman city of Colonia Ulpia Traiana\n", "translation_sents": [ " External links Archaeological Park Xanten - The Roman city of Colonia Ulpia Traiana\n" ], "translation_probs": [ [ 0.7543678283691406, 0.8943837285041809, 0.9557353258132935, 1, 1, 1, 1, 0.6737072467803955, 1, 1, 1, 1 ] ], "repetitious_translation": false } ], "source_lang": [ null ], "source_url": [ "https://web.archive.org/web/20200809053925/https://apx.lvr.de/en/roemische_stadt/roemische_stadt.html" ], "source_text": [ null ], "qa_pairs": [ { "question": [ "what connects the roman city of colonia ulpia traiana to the city", "what was the roman name for colonia", "colonia ulpia traiana was the capital of which ancient civilization", "where was the roman city of colonia ulpia traiana located", "what is the roman name for colonia ulpia traiana", "colonia ulpia traiana is a city in which country", "what was the roman name for colonia ulpia traiana", "what was the roman name for ulpia traiana" ], "en_answer": [ "External links", "Ulpia Traiana", "The Roman", "Archaeological Park Xanten", "Xanten", "Roman", "Colonia Ulpia Traiana", "Colonia" ], "lang_answer": [ "Eksterne skakels", "Ulpia Traiana", "Romeinse", "Park Xanten - Die Romeinse", "Xanten", "Romeinse", "Colonia Ulpia Traiana", "Colonia" ], "frames": [ { "frame": [], "argument": [] }, { "frame": [], "argument": [] }, { "frame": [], "argument": [] }, { "frame": [], "argument": [] }, { "frame": [], "argument": [] }, { "frame": [], "argument": [] }, { "frame": [], "argument": [] }, { "frame": [], "argument": [] } ], "en_matches_in_source": [ [], [], [], [], [], [], [], [] ], "en_match_in_passage": [ [ 0, 14 ], [ 70, 83 ], [ 44, 53 ], [ 15, 41 ], [ 35, 41 ], [ 48, 53 ], [ 62, 83 ], [ 62, 69 ] ], "lang_matches_in_source": [ [], [], [], [], [], [], [], [] ], "lang_match_in_passage": [ [ 0, 1 ], [ 10, 11 ], [ 7, 7 ], [ 3, 7 ], [ 4, 4 ], [ 7, 7 ], [ 9, 11 ], [ 9, 9 ] ], "passage": [ [ " External links Archaeological Park Xanten - The Roman city of Colonia Ulpia Traiana\n" ], [ " External links Archaeological Park Xanten - The Roman city of Colonia Ulpia Traiana\n" ], [ " External links Archaeological Park Xanten - The Roman city of Colonia Ulpia Traiana\n" ], [ " External links Archaeological Park Xanten - The Roman city of Colonia Ulpia Traiana\n" ], [ " External links Archaeological Park Xanten - The Roman city of Colonia Ulpia Traiana\n" ], [ " External links Archaeological Park Xanten - The Roman city of Colonia Ulpia Traiana\n" ], [ " External links Archaeological Park Xanten - The Roman city of Colonia Ulpia Traiana\n" ], [ " External links Archaeological Park Xanten - The Roman city of Colonia Ulpia Traiana\n" ] ], "en_answer_tokens": [ [ "External", "links" ], [ "Ulpia", "Traiana" ], [ "The", "Roman" ], [ "Archaeological", "Park", "Xanten" ], [ "Xanten" ], [ "Roman" ], [ "Colonia", "Ulpia", "Traiana" ], [ "Colonia" ] ], "match_disambiguated_question": [ "what connects the roman city of colonia ulpia traiana to the city", "what was the roman name for colonia", "colonia ulpia traiana was the capital of which ancient civilization", "where was the roman city of colonia ulpia traiana located", "what is the roman name for colonia ulpia traiana", "colonia ulpia traiana is a city in which country", "what was the roman name for colonia ulpia traiana", "what was the roman name for ulpia traiana" ] } ] }
"Christen Dalsgaard"
"duimnael|regs|300px|Christen Dalsgaard, 1866 Christen Dalsgaard (Skive, 30 Oktober 1824 - Sorø, 11 Februarie 1907) was 'n Deense realistiese skilder. Hy is die bekendste vir sy landskapskilderye. .https://www.kulturarv.dk/kid/VisKunstner.do?kunstnerId=310&wsektion=alle Lewe Hy studeer aan die Koninklike Deense Akademie vir Kuns (Kopenhagen), en was professor aan die Sorø Akademi. Geselekteerde skilderye Verwysings Eksterne skakels Kategorie:Deense skilders Kategorie:Geboortes in 1824 Kategorie:Sterftes in 1907"
{ "id": [ "af-0000-15" ], "passage": [ { "text": [ " Christen Dalsgaard , 1866 Christen Dalsgaard ( Skive , 30 October 1824 - Sorø , 11 February 1907 ) was a Danish realist painter .\n" ], "parse": "[{\"label\": \"@@VIRTUAL_ROOT@@\", \"span\": [-1, -1], \"confidence\": 0.7914571166, \"children\": [{\"label\": \"Origin\", \"span\": [21, 21], \"confidence\": 1.0, \"children\": [{\"label\": \"Entity\", \"span\": [22, 23], \"confidence\": 1.0, \"children\": []}, {\"label\": \"Origin\", \"span\": [21, 21], \"confidence\": 1.0, \"children\": []}]}]}]", "en_tokens": [ "Christen", "Dalsgaard", ",", "1866", "Christen", "Dalsgaard", "(", "Skive", ",", "30", "October", "1824", "-", "Sorø", ",", "11", "February", "1907", ")", "was", "a", "Danish", "realist", "painter", "." ], "lang_tokens": [ "Christen", "Dalsgaard", ",", "1866", "Christen", "Dalsgaard", "(", "Skive", ",", "30", "Oktober", "1824", "-", "Sorø", ",", "11", "Februarie", "1907", ")", "was", "'", "n", "Deense", "realistiese", "skilder", "." ], "en_lang_token_map": [ [ 0, 0 ], [ 1, 5 ], [ 5, 5 ], [ 2, 25 ], [ 3, 3 ], [ 4, 4 ], [ 6, 6 ], [ 7, 7 ], [ 8, 14 ], [ 14, 14 ], [ 9, 9 ], [ 10, 10 ], [ 11, 11 ], [ 12, 12 ], [ 13, 13 ], [ 15, 15 ], [ 16, 16 ], [ 17, 17 ], [ 18, 18 ], [ 19, 19 ], [ 20, 21 ], [ 21, 22 ], [ 22, 23 ], [ 23, 24 ], [ 24, 25 ] ] } ], "mt": [ { "original": "Christen Dalsgaard, 1866 Christen Dalsgaard (Skive, 30 Oktober 1824 - Sorø, 11 Februarie 1907) was 'n Deense realistiese skilder.", "original_sents": [ "Christen Dalsgaard , 1866 Christen Dalsgaard ( Skive , 30 Oktober 1824 - Sorø , 11 Februarie 1907 ) was ' n Deense realistiese skilder . " ], "translation": " Christen Dalsgaard , 1866 Christen Dalsgaard ( Skive , 30 October 1824 - Sorø , 11 February 1907 ) was a Danish realist painter .\n", "translation_sents": [ " Christen Dalsgaard , 1866 Christen Dalsgaard ( Skive , 30 October 1824 - Sorø , 11 February 1907 ) was a Danish realist painter .\n" ], "translation_probs": [ [ 1, 0.999994695186615, 0.391289621591568, 1, 1, 0.9999984502792358, 0.9999529123306274, 0.5506969094276428, 1, 1, 0.9999292492866516, 0.48527660965919495, 1, 0.9999999403953552, 1, 1, 0.9999999403953552, 0.46863260865211487, 0.9999914765357971, 1, 0.9999946355819702, 1, 1, 0.9999465942382812, 0.6774356961250305, 0.9971036911010742, 0.9999998807907104, 0.9999927878379822, 0.6758818626403809, 1 ] ], "repetitious_translation": false } ], "source_lang": [ null ], "source_url": [ "https://www.kulturarv.dk/kid/VisKunstner.do?kunstnerId=310&wsektion=alle" ], "source_text": [ null ], "qa_pairs": [ { "question": [ "which danish painter was born in 1866 and died in 1907", "when did the painter christen dalsgaard die", "in what year did danish painter christen dalsgaard die", "when did danish painter christen dalsgaard die", "who was the danish painter who lived from 1824 to 1907", "what was the real name of painter christen dalsgaard", "what type of painter was christen dalsgaard", "in which year was danish painter christen dalsgaard born" ], "en_answer": [ "Christen Dalsgaard", "11 February 1907", "1866", "30 October 1824", "Christen Dalsgaard", "Sorø", "realist", "1824" ], "lang_answer": [ "Christen Dalsgaard , 1866 Christen Dalsgaard", "11 Februarie 1907", "1866", "30 Oktober 1824", "Christen Dalsgaard , 1866 Christen Dalsgaard", "Sorø", "realistiese", "1824" ], "frames": [ { "frame": [], "argument": [] }, { "frame": [], "argument": [] }, { "frame": [], "argument": [] }, { "frame": [], "argument": [] }, { "frame": [], "argument": [] }, { "frame": [], "argument": [] }, { "frame": [], "argument": [] }, { "frame": [], "argument": [] } ], "en_matches_in_source": [ [], [], [], [], [], [], [], [] ], "en_match_in_passage": [ [ 0, 18 ], [ 80, 96 ], [ 21, 25 ], [ 55, 70 ], [ 26, 44 ], [ 73, 77 ], [ 112, 119 ], [ 66, 70 ] ], "lang_matches_in_source": [ [], [], [], [], [], [], [], [] ], "lang_match_in_passage": [ [ 0, 5 ], [ 15, 17 ], [ 3, 3 ], [ 9, 11 ], [ 0, 5 ], [ 13, 13 ], [ 23, 23 ], [ 11, 11 ] ], "passage": [ [ " Christen Dalsgaard , 1866 Christen Dalsgaard ( Skive , 30 October 1824 - Sorø , 11 February 1907 ) was a Danish realist painter .\n" ], [ " Christen Dalsgaard , 1866 Christen Dalsgaard ( Skive , 30 October 1824 - Sorø , 11 February 1907 ) was a Danish realist painter .\n" ], [ " Christen Dalsgaard , 1866 Christen Dalsgaard ( Skive , 30 October 1824 - Sorø , 11 February 1907 ) was a Danish realist painter .\n" ], [ " Christen Dalsgaard , 1866 Christen Dalsgaard ( Skive , 30 October 1824 - Sorø , 11 February 1907 ) was a Danish realist painter .\n" ], [ " Christen Dalsgaard , 1866 Christen Dalsgaard ( Skive , 30 October 1824 - Sorø , 11 February 1907 ) was a Danish realist painter .\n" ], [ " Christen Dalsgaard , 1866 Christen Dalsgaard ( Skive , 30 October 1824 - Sorø , 11 February 1907 ) was a Danish realist painter .\n" ], [ " Christen Dalsgaard , 1866 Christen Dalsgaard ( Skive , 30 October 1824 - Sorø , 11 February 1907 ) was a Danish realist painter .\n" ], [ " Christen Dalsgaard , 1866 Christen Dalsgaard ( Skive , 30 October 1824 - Sorø , 11 February 1907 ) was a Danish realist painter .\n" ] ], "en_answer_tokens": [ [ "Christen", "Dalsgaard" ], [ "11", "February", "1907" ], [ "1866" ], [ "30", "October", "1824" ], [ "Christen", "Dalsgaard" ], [ "Sorø" ], [ "realist" ], [ "1824" ] ], "match_disambiguated_question": [ "which danish painter was born in 1866 and died in 1907", "when did the painter christen dalsgaard die", "in what year did danish painter christen dalsgaard die", "when did danish painter christen dalsgaard die", "who was the danish painter who lived from 1824 to 1907", "what was the real name of painter christen dalsgaard", "what type of painter was christen dalsgaard", "in which year was danish painter christen dalsgaard born" ] } ] }
"Alan Dershowitz"
"Alan Morton Dershowitz (1 September 1938) is 'n Amerikaanse prokureur en akademikus. Hy is 'n kenne(...TRUNCATED)
{"id":["af-0000-16","af-0000-17","af-0000-18","af-0000-19","af-0000-20","af-0000-21","af-0000-22","a(...TRUNCATED)
"Mediese diagnose"
"thumb|Radiografie is 'n belangrik deel van die diagnose van sekere afwykings\nMediese diagnose is d(...TRUNCATED)
{"id":["af-0000-36","af-0000-37"],"passage":[{"text":[" History\n"," The first recorded examples of (...TRUNCATED)
"Oordraagbare siekte"
"Aansteeklike siektes is 'n mediese spesialiteit wat handel oor die mediese diagnose, beheer en beha(...TRUNCATED)
{"id":["af-0000-38"],"passage":[{"text":[" Scope Infectious disease specialists usually act as consu(...TRUNCATED)
"Khalil Gibran"
"Gibran Khalil Gibran, Arabies: جبران خليل جبران, Siries: ܓ̰ܒܪܢ ܚܠܝܠ ܓ̰ܒܪ(...TRUNCATED)
{"id":["af-0000-39"],"passage":[{"text":[" In addition to writing , he often painted ; his books con(...TRUNCATED)
"Dimitri Verhulst"
"Dimitri Verhulst (2 Oktober 1972) is 'n Belgiese skrywer en digter. Hy is die beste bekend om sy ro(...TRUNCATED)
{"id":["af-0000-40","af-0000-41","af-0000-42","af-0000-43","af-0000-44","af-0000-45","af-0000-46","a(...TRUNCATED)

Dataset Card for MegaWika

Dataset Summary

MegaWika is a multi- and crosslingual text dataset containing 30 million Wikipedia passages with their scraped and cleaned web citations. The passages span 50 Wikipedias in 50 languages, and the articles in which the passages were originally embedded are included for convenience. Where a Wikipedia passage is in a non-English language, an automated English translation is provided. Furthermore, nearly 130 million English question/answer pairs were extracted from the passages, and FrameNet events occurring in the passages are detected using the LOME FrameNet parser.

Dataset Creation

The pipeline through which MegaWika was created is complex, and is described in more detail in the paper (linked above), but the following diagram illustrates the basic approach.

Illustration of MegaWikaProcess

Supported Tasks and Leaderboards

MegaWika is meant to support research across a variety of tasks, including report generation, summarization, information retrieval, question answering, etc.

Languages

MegaWika is divided by Wikipedia language. There are 50 languages, including English, each designated by their 2-character ISO language code:

  • af: Afrikaans
  • ar: Arabic
  • az: Azeri (Azerbaijani)
  • bn: Bengali
  • cs: Czech
  • de: German (Deutsch)
  • en: English
  • es: Spanish (Español)
  • et: Estonian
  • fa: Farsi (Persian)
  • fi: Finnish
  • fr: French
  • ga: Irish (Gaelic)
  • gl: Galician
  • gu: Gujarati
  • he: Hebrew
  • hi: Hindi
  • hr: Hungarian
  • id: Indonesian
  • it: Italian
  • ja: Japanese
  • ka: Georgian (Kartvelian/Kartlian)
  • kk: Kazakh
  • km: Khmer
  • ko: Korean
  • lt: Lithuanian
  • lv: Latvian
  • mk: Macedonian (Makedonski)
  • ml: Malay (Malayalam)
  • mn: Mongolian
  • mr: Marathi
  • my: Burmese (Myanmar language)
  • ne: Nepali
  • nl: Dutch (Nederlands)
  • pl: Polish
  • ps: Pashto
  • pt: Portuguese
  • ro: Romanian
  • ru: Russian
  • si: Sinhalese (Sri Lankan language)
  • sl: Slovenian
  • sv: Swedish (Svenska)
  • ta: Tamil
  • th: Thai
  • tr: Turkish
  • uk: Ukrainian
  • ur: Urdu
  • vi: Vietnamese
  • xh: Xhosa
  • zh: Chinese (Zhōng wén)

Dataset Structure

The dataset is divided by language, and the data for each of the 50 languages is further chunked into discrete JSON lines files. Each line of these files -- we'll call such a line an instance -- contains the data extracted from a single Wikipedia article.

Data Instances

Each instance contains the text of the seed Wikipedia article, along with a list of entries. Each entry consists basically in an extracted Wikipedia passage, the URL and scraped text of the web source it cites, a list of questions/answer pairs extracted from the passage, and a framenet parse of the passage. Where the passage is from a non-English Wikipedia, a machine translation into English is also provided.

Data Fields

The detailed structure of an instance is as follows:

{
  "article_title": <string : title of original Wikipedia article>
  "article_text": <string : text of Wikipedia article>
  "entries": [
    # Wiki Passage
    "id": <string : passage ID>
    "passage": {
      "text": <string : text of passage in English (possibly via MT)>
      "parse": <list of dict : FrameNet parse of English passage text>
      "en_tokens": <dict : tokenization of passage in English>
      "lang_tokens": <dict : tokenization of original non-English passage>
      "en_lang_token_map": <dict : alignment mapping between English and original language token indices>
    }

    # MT
    "original": <string : original language passage>
    "original_sents": <list of string : sentencized original language passage>
    "translation": <string : machine translation of passage>
    "translation_sents": <list of string : sentencized machine translation of passage>
    "translation_probs": <list of float : log prob of machine translation by sentence, where available>
    "repetitious_translation": <string \in ("true", "false") : automated judgment on whether machine translation is pathologically repetitious>
    "source_lang": <string : language ID, 2-character ISO code>

    # Source
    "source_url": <string : URL of the cited web source>
    "source_text": <string : content extracted from the scrape of the source URL>

    # Question/Answer Pairs
    "qa_pairs": [
      ...
      {
        "question": <string : generated question>
        "passage_id": <string : passage ID>
        "en_answer": <string : English answer>
        "lang_answer": <string : aligned original language answer>
        "frames": [
          ...
          {
            "frame": <string : frame triggered by the question>
            "argument": <string : detected frame arguments>
          }
          ...
        ]
        # NB: answer matches can be empty, in the case no matching span exists
        "en_matches_in_source": <list of int : start and end index of the English language-answer token(s) in the source document>
        "en_match_in_passage": <list of int : start and end index of the English language-answer token(s) in the English language translation of the passage>
        "lang_matches_in_source": <list of int : start and end index of the original language-answer token(s) in the source document>
        "lang_match_in_passage": <list of int : start and end index of the original language-answer token(s) in the original language passage>
        "passage": <list of string : sentencized view of the passage>
        "en_answer_tokens": <list of string>
        "match_disambiguated_question": <string : disambiguated version of question obtained by matching pronouns with article title (noisy but often helpful)>
      }
      ...
    ]
  ]
}

English language instances differ not in structure but in content;

  1. Fields in the block labeled "MT" above are naturally null (that is, they are set to falsy values in Python -- specifically None)
  2. Since the Wiki passage only exists in English, and has no corresponding non-English "original language" version, answer spans also necessarily have only an English-language version (and no non-English "original-language" version. Therefore, fields in the qa_pairs block beginning with lang_ are set to null/falsy values in Python (in this case, empty lists).

Data Splits

MegaWika is currently split only by language, as each task will imply its own approach to filtering, sampling, downselecting, and splitting into train/test splits.

Licensing and Takedown

MegaWika 1.0 consists in part of documents scraped from across the web (based on citations linked in Wikipedia articles.)

We do not own any of the scraped text nor do we claim copyright: text drawn from Wikipedia citations are meant for research use in algorithmic design and model training.

We release this dataset and all its contents under CC-BY-SA-4.0.

Notice and Takedown Policy:

NB: Should you consider that our data contains material that is owned by you and should therefore not be reproduced here, please:

  • Clearly identify yourself, with detailed contact data such as an address, telephone number or email address at which you can be contacted.
  • Clearly identify the copyrighted work claimed to be infringed.
  • Clearly identify the material that is claimed to be infringing and information reasonably sufficient to allow us to locate the material.

And contact the authors.

Take down: We will comply to legitimate requests by removing the affected sources from the next release of the dataset.

Additional Information

Dataset Curators

Released and maintained by the Johns Hopkins University Human Language Technology Center of Excellence (JHU/HLTCOE). You can contact one the MegaWika authors, including Samuel Barham, Orion Weller, and Ben van Durme with questions.

Licensing Information

Released under the Attribution-ShareAlike 4.0 International (CC BY-SA 4.0) license.

Citation Information

@misc{barham2023megawika,
      title={MegaWika: Millions of reports and their sources across 50 diverse languages}, 
      author={Samuel Barham and and  Weller and Michelle Yuan and Kenton Murray and Mahsa Yarmohammadi and Zhengping Jiang and Siddharth Vashishtha and Alexander Martin and Anqi Liu and Aaron Steven White and Jordan Boyd-Graber and Benjamin Van Durme},
      year={2023},
      eprint={2307.07049},
      archivePrefix={arXiv},
      primaryClass={cs.CL}
}
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