1{2 "document_id": "lb_2wikimqa_cab5465c3f7663e5d72c15a32bc04c8a917dac3c03828814",3 "family": "public_2wikimqa",4 "split": "test",5 "text": "Passage 1:\nHenri Verdun\nHenri Verdun (1895–1977) was a French composer of film scores.\n\nSelected filmography\nNapoléon (1927)\nThe Sweetness of Loving (1930)\nThe Levy Department Stores (1932)\nThe Lacquered Box (1932)\nThe Weaker Sex (1933)\nThe Flame (1936)\nGirls of Paris (1936)\nThe Assault (1936)\nLes Disparus de Saint-Agil (1938)\nThe Woman Thief (1938)\nErnest the Rebel (1938)\nRail Pirates (1938)\nThe Fatted Calf (1939)\nCamp Thirteen (1940)\nThe Man Without a Name (1943)\nThe Bellman (1945)\nMy First Love (1945)\nThe Murderer is Not Guilty (1946)\nDistress (1946)\nThe Fugitive (1947)\nThe Ironmaster (1948)\nThe Tragic Dolmen (1948)\nThe Ladies in the Green Hats (1949)\nLa Fugue de Monsieur Perle (1952)\nThe Lovers of Midnight (1953)\nThe Big Flag (1954)\nBlood to the Head (1956)\nPassage 2:\nTarcisio Fusco\nTarcisio Fusco was an Italian composer of film scores. He was the brother of the composer Giovanni Fusco and the uncle of operatic soprano Cecilia Fusco.\n\nSelected filmography\nBoccaccio (1940)\nFree Escape (1951)\nAbracadabra (1952)\nThe Eternal Chain (1952)\nBeauties in Capri (1952)\nMilanese in Naples (1954)\nConspiracy of the Borgias (1959)\nPassage 3:\nWalter Ulfig\nWalter Ulfig was a German composer of film scores.\n\nSelected filmography\nDas Meer (1927)\nVenus im Frack (1927)\nSvengali (1927)\nBigamie (1927)\nHomesick (1927)\nThe Awakening of Woman (1927)\nThe Famous Woman (1927)\nAlpine Tragedy (1927)\nThe Strange Case of Captain Ramper (1927)\nAssassination (1927)\nQueen Louise (1927)\nHomesick (1927)\nDas Schicksal einer Nacht (1927)\nThe Hunt for the Bride (1927)\nThe Orlov (1927)\nSerenissimus and the Last Virgin (1928)\nMariett Dances Today (1928))\nThe Woman from Till 12 (1928)\nThe Beloved of His Highness (1928)\nThe Schorrsiegel Affair (1928)\nIt Attracted Three Fellows (1928)\nMiss Chauffeur (1928)\nThe King of Carnival (1928)\nThe Weekend Bride (1928)\nHoneymoon (1928)\nSpring Awakening (1929)\nThe Right of the Unborn (1929)\nThe Heath Is Green (1932)\nHöllentempo (1933)\nThe Two Seals (1934)\nPappi (1934)\nMädchenräuber (1936)\n\nBibliography\nJung, Uli & Schatzberg, Walter. Beyond Caligari: The Films of Robert Wiene. Berghahn Books, 1999.\n\nExternal links\nWalter Ulfig at IMDb\nPassage 4:\nBert Grund\nBert Grund (1920–1992) was a German composer of film scores.\n\nSelected filmography\nCrown Jewels (1950)\nImmortal Light (1951)\nI Can't Marry Them All (1952)\nWe're Dancing on the Rainbow (1952)\nMy Wife Is Being Stupid (1952)\nKnall and Fall as Detectives (1952)\nThe Bachelor Trap (1953)\nThe Bird Seller (1953)\nThe Immortal Vagabond (1953)\nThe Sun of St. Moritz (1954)\nThe Witch (1954)\nThe Major and the Bulls (1955)\nOperation Sleeping Bag (1955)\nLove's Carnival (1955)\nThe Marriage of Doctor Danwitz (1956)\nBetween Time and Eternity (1956)\nThat Won't Keep a Sailor Down (1958)\nArena of Fear (1959)\nThe Thousand Eyes of Dr. Mabuse (1960)\nThe Count of Luxemburg (1972)\nMathias Sandorf (1979, TV series)\nDie Wächter (1986, TV miniseries)\nCarmen on Ice (1990)\nPassage 5:\nMiracle of Marcelino\nMiracle of Marcelino (Spanish: Marcelino, pan y vino, \"Marcelino, bread and wine\") is a 1955 Spanish film written by José Maria Sanchez-Silva, based on his novel, and directed by Ladislao Vajda. It starred, Juan Calvo (who also starred together as Don Quixote and Sancho Panza in the 1947 Spanish film version of Miguel de Cervantes' Don Quixote) and the young child star Pablito Calvo (no relation to Juan) as Marcelino. The musical score and theme song – sung in full during the action, rather than at the start of the film – are by Pablo Sorozábal.\nThe story, revised and modernised in both the book and film, dates back to a medieval legend, one of many gathered together in a volume by Alfonso el Sabio. It was a critical and commercial success, and other countries have produced versions of it.\n\nPlot\nThe story revolves around Marcelino, an orphan abandoned as a baby on the steps of a monastery in nineteenth-century Spain. The monks raise the child, and Marcelino grows into a rowdy young boy. He has been warned by the monks not to visit the monastery attic, where a \"very big man who will take him away\" lives, but he ventures upstairs anyway, sees the man and tears off back down the stairs.\nAt a festival, Marcelino causes havoc when he accidentally topples a pile of fruit and lets some animals loose. The new local mayor, a blacksmith whom the monks would not let adopt Marcelino because of his coarse behaviour, uses the incident as an excuse to try to shut down the monastery.\nGiven the silent treatment by the monks, Marcelino gathers up the courage to once again enter the attic, where he sees not a bogeyman, but a beautiful statue of Christ on the Cross. Remarking that the statue looks hungry, Marcelino steals some bread and wine and offers it to the statue, which comes to life, descends from the Cross, and eats and drinks what the boy has brought him. The statue becomes Marcelino's best friend and confidant and begins to give him religious instruction. For his part, Marcelino realizes that the statue is Christ.\nThe monks know something is strange when they notice bread and wine disappearing, and arrange to spy on Marcelino. One day, the statue notices that Marcelino is pensive and brooding instead of happy, and tells him that he would like to reward his kindness. Marcelino answers: \"I want only to see my mother, and to see Yours after that\". The statue cradles Marcelino in its arms, tells Marcelino to sleep - and Marcelino dies happy.\nThe monks witness the miracle through a crack in the attic door and burst in just in time to see the dead Marcelino bathed in a heavenly glow. The statue returns to its place on the Cross, and Marcelino is buried underneath the chapel and venerated by all who visit the now flourishing monastery-turned-shrine.\nThe main story is told in flashback by a monk (played by Fernando Rey), who, visiting a dying girl, tells her the story of Marcelino for inspiration. The film ends with the monk entering the now completely remodelled chapel in the monastery during Mass, and saying to the crucifix once kept in the attic: \"We have been speaking about You, O Lord\", and then, to Marcelino's grave, which is situated nearby, \"And about you, too, Marcelino.\"\n\nCast\nLegacy\nThe film remains one of the most famous and successful Spanish films ever made in history, and one of the first Spanish films to become successful in the U.S. as well.\nThree key scenes of the film were filmed in La Alberca (Salamanca). Its Plaza Mayor serves as a stage for the initial scene, in which the narrator friar, Fernando Rey, goes down to the village to tell the sick child the story of Marcellino. The scene of the market, where Marcelino has just climbed into a cockpit after causing the stampede of a yoke of oxen. Finally, back to the convent, they pass in front of the Hermitage of San Blas of said locality. All the atmosphere related to the convent is located in the chapel of the Cristo del Caloco in El Espinar (Segovia) one which has great devotion in the region;\nThe figure of the Christ, however, does not correspond to that of the Caloco, but is a sculpture of the sculptor Antonio Simont and is currently on the altar of the Chapel of St. Teresa of the Convent of the Carmelites of Don Benito (Badajoz). There it ended up at the wish of one of the sound engineers of the film, Miguel López Cabrera, whose sister was a nun in the convent.\n\nRemakes\nA Philippine remake of Miracle of Marcelino, under its original title, was released in 1979.\nAn Italian remake, Marcellino, was produced in 1991 in color, and was much less successful than the original film.\nIn 2000, VIP Toons of Spain, PMMP and TF1 of France and Nippon Animation of Japan created the first TV series adaptation of the story, also titled Marcelino Pan y Vino after the original novel. The first 26-episode run (2000-2001) was adapted into several languages, including French, Spanish, Tagalog, Portuguese, and Italian, and became a success across Europe. An additional 26 episodes were made in 2004 and aired in Germany in 2006.\nThe film became the inspiration for the 2009–2010 ABS-CBN teleserye, May Bukas Pa.\nA Mexican remake was released on 16 December 2010, with the basic storyline and framed by the Mexican Revolution of 1910.\nThe 2023 Brazilian telenovela Amor Perfeito is also based on Marcelino, pan y vino.\n\nAwards\nWon1955 Cannes Film FestivalOCIC Award - Special Mention\nPablito Calvo - Special Mention\n5th Berlin International Film Festival: Silver BearNominated1955 Cannes Film Festival: Palme d'Or\nPassage 6:\nJosé María Sánchez-Silva\nJosé María Sánchez-Silva y García-Morales (11 November 1911 – 13 January 2002) was a Spanish writer. He received the Hans Christian Andersen Medal in 1968 for his contribution to children's literature. He is best known for his novel Marcelino Bread and Wine (1953) which was filmed in 1955, as Miracle of Marcelino.\n\nEarly life\nSánchez-Silva was born in Madrid. His father, also José María Sánchez Silva, was a journalist close to anarchism, writing in the journal Earth, who went into exile in 1939. The family had been unstructured and the son (Sánchez-Silva) at times was practically a vagrant child. He joined institutions for orphans and children at risk such as Del Pardo School of Madrid (dependent on the City Council of Madrid). In these institutions he learned typing and shorthand, which earned him a stenographer's position in Madrid.\n\nCareer\nIn 1934, he published his first book The Man in the Scarf.\nDuring the Spanish Civil War, he remained in the Republican zone in Madrid, working with the Falange until Nationalist troops entered the city. In 1939, he began working as a journalist in the newspaper Arriba. He became assistant principal of the paper and collaborated with the newspaper El Pueblo.\nSánchez-Silva won fame as a result of Marcelino Bread and Wine (Marcelino, pan y vino, 1953), which was made into a film by Ladislao Vajda as Miracle of Marcelino, and became one of the great successes of Spanish cinema worldwide. It was further adapted into Marcelino (anime).\nAfter the success of Marcelino, he returned to the character in stories Marcelino Pan y Vino and Adventures in the sky Marcelino Pan y Vino.\nTogether with José Luis Sáenz de Heredia, he was the author of the screenplay of the movie Franco, ese hombre, a biography in the caudillo.\n\nAwards\nThe biennial Hans Christian Andersen Award conferred by the International Board on Books for Young People is the highest recognition available to a writer or illustrator of children's books. Sánchez-Silva received the writing award in 1966.He won the Spanish prize for literature in 1957.\nPassage 7:\nAbe Meyer\nAbe Meyer (1901–1969) was an American composer of film scores.\n\nSelected filmography\nPainted Faces (1929)\nHoneymoon Lane (1931)\nUnholy Love (1932)\nA Strange Adventure (1932)\nTake the Stand (1934)\nLegong (1935)\nThe Unwelcome Stranger (1935)\nSuicide Squad (1935)\nThe Mine with the Iron Door (1936)\nThe Devil on Horseback (1936)\nSong of the Trail (1936)\nCounty Fair (1937)\nThe 13th Man (1937)\nRaw Timber (1937)\nRoaring Timber (1937)\nThe Law Commands (1937)\nThe Painted Trail (1938)\nMy Old Kentucky Home (1938)\nThe Secret of Treasure Island (1938)\nSaleslady (1938)\nNumbered Woman (1938)\nThe Marines Are Here (1938)\nFisherman's Wharf (1939)\nUndercover Agent (1939)\nPassage 8:\nAlonso Mudarra\nAlonso Mudarra (c. 1510 – April 1, 1580) was a Spanish composer of the Renaissance, and also played the vihuela, a guitar-shaped string instrument. He was an innovative composer of instrumental music as well as songs, and was the composer of the earliest surviving music for the guitar.\n\nBiography\nThe place of his birth is not recorded, but he grew up in Guadalajara, and probably received his musical training there. He most likely went to Italy in 1529 with Charles V, in the company of the fourth Duke of the Infantado, Íñigo López de Mendoza, marqués de Santillana. When he returned to Spain he became a priest, receiving the post of canon at the cathedral in Seville in 1546, where he remained for the rest of his life. While at the cathedral, he directed all of the musical activities; many records remain of his musical activities there, which included hiring instrumentalists, buying and assembling a new organ, and working closely with composer Francisco Guerrero for various festivities. Mudarra died in Seville, and his sizable fortune was distributed to the poor of the city according to his will.\n\nMudarra wrote numerous pieces for the vihuela and the four-course guitar, all contained in the collection Tres libros de musica en cifras para vihuela (\"Three books of music in numbers for vihuela\"), which he published on December 7, 1546 in Seville. These three books contain the first music ever published for the four-course guitar, which was then a relatively new instrument. The second book is noteworthy in that it contains eight multi-movement works, all arranged by \"tono\", or mode.\nCompositions represented in this publication include fantasias, variations (including a set on La Folia), tientos, pavanes and galliards, and songs. Modern listeners are probably most familiar with his Fantasia X, which has been a concert and recording mainstay for many years. The songs are in Latin, Spanish and Italian, and include romances, canciones (songs), villancicos, (popular songs) and sonetos (sonnets). Another innovation was the use of different signs for different tempos: slow, medium, and fast.\n\nReferences and further reading\nJohn Griffiths: \"Alonso Mudarra\", Grove Music Online ed. L. Macy (Accessed March 24, 2005), (subscription access)\nGustave Reese, Music in the Renaissance. New York, W.W. Norton & Co., 1954. ISBN 0-393-09530-4\nGuitar Music of the Sixteenth Century, Mel Bay Publications (transcribed by Keith Calmes)\nThe Eight Masterpieces of Alonso Mudarra, Mel Bay Publications (transcribed by Keith Calmes)\nFantasia VI in hypermedia (Shockwave Player required) at the BinAural Collaborative Hypertext\nJacob Heringman and Catherine King: \"Alonso Mudarra songs and solos\". Magnatune.com (http://www.magnatune.com/artists/albums/heringman-mudarra/hifi_play)\n\nExternal links\nFree scores by Alonso Mudarra in the Choral Public Domain Library (ChoralWiki)\nFree scores by Alonso Mudarra at the International Music Score Library Project (IMSLP)\nPassage 9:\nPablo Sorozábal\nPablo Sorozábal Mariezcurrena (18 September 1897 – 26 December 1988) was a Spanish composer of zarzuelas, operas, symphonic works, and the popular romanza, \"No puede ser\".\nHe was born in San Sebastián, in a working-class family. Trained in San Sebastián, Madrid and Leipzig; then in Berlin, where he preferred Friedrich Koch as composition teacher to Arnold Schönberg, whose theories he disliked. It was in Germany that he made his conducting debut, and the rostrum remained at the centre of his working life. His Leipzig concert works include the choral Suite vasca (1923); Dos apuntes Vascos (1925) and Symphonic Variations on a Basque Theme (1927); of later works the funeral march Gernika for chorus and orchestra (1966) is outstanding. The Siete Lieder, 1929 settings of Heinrich Heine for mezzo-soprano and orchestra, are perhaps the finest works he produced in Germany. Two short but powerful compositions for chorus and orchestra, Maite (‘Our Lady’, from the 1946 film Jai-Alai) and ¡Ay, tierra vasca! (1956) retain their place in the hearts of his Basque countrymen.\nKatiuska (1931) was his stage debut, and the twenty or so zarzuelas which followed combine lyric fire and inimitable orchestration with an unfailing sense of theatre. Best-loved are his classic madrileño comedy La del manojo de rosas (1934) and the “nautical romance” set on the Atlantic Coast La tabernera del puerto of 1936. The latter includes the romanza \"No puede ser\", made internationally popular when sung in the Three Tenors concerts by Plácido Domingo. His one-act verismo opera Adiós a la bohemia (from a short story by Pío Baroja) also retains its popularity in Spain.\nSorozábal's liberal sympathies left him somewhat isolated after the Spanish Civil War, and many of his later zarzuelas were first seen outside the capital or in less prestigious Madrid theatres. They include the ambitious, allegorical romance Black, el payaso (1942) and the ski-sports musical Don Manolito (1943), both of which starred popular Basque soprano Pepita Embil.\nSorozábal also wrote scores for non-musical films, notably the classic Spanish film Marcelino Pan y Vino (1955).\nHis tenure as director of the Madrid Symphony Orchestra ended abruptly in 1952 when he was refused permission to conduct Shostakovich’s Leningrad Symphony; and though his musical comedy Las de Caín was premiered at the Teatro de la Zarzuela in 1958, the opera Juan José had to wait for its belated (and highly successful) concert premiere until February 2009, after a full production was suspended during rehearsals in Madrid during 1979. With his death in Madrid on 26 December 1988 the last chapter in the creative history of the romantic zarzuela came to an end. Sorozábal's theatrical vitality, musical wit and dramatic force are second to none in the history of zarzuela and rival the best of his German and Italian music theatre contemporaries, such as Kurt Weill.\nPassage 10:\nRafael Calvo\nRafael Luis Calvo Muñoz (30 December 1911 – 9 December 1988) was a Spanish film actor. He appeared in more than 60 films including Miracle of Marcelino (1955).\n\nSelected filmography",6 "char_len": 17458,7 "document_hash": "c044835ec5415dd12f1f02943e45b3dcb3c21327eff990496c33af3f58649ea6",8 "questions": [9 {10 "question_id": "q00",11 "qtype": "2wikimqa",12 "question": "Where was the place of death of the composer of film Miracle Of Marcelino?"13 }14 ]15}