IN: Anton Friedrich Wilhelm (von) Webern (German: ['anton 've:ban] ( listen); 3 December 1883 - 15 September 1945) was an Austrian composer and conductor. Along with his mentor Arnold Schoenberg and his colleague Alban Berg, Webern was in the core of those in the circle of the Second Viennese School, including Ernst Krenek and Theodor W. Adorno. As an exponent of atonality and twelve-tone technique, Webern exerted influence on contemporaries Luigi Dallapiccola, Krenek, and even Schoenberg himself.

Webern insisted on lyricism, nuance, rubato, sensitivity, and both emotional and intellectual understanding in performance of music; this is evidenced by anecdotes, correspondence, extant recordings of Schubert's Deutsche Tanze (arr. Webern) and Berg's Violin Concerto under his direction, many such detailed markings in his scores, and finally by his compositional process as both publicly stated and later revealed in the musical and extramusical metaphors and associations everywhere throughout his sketches. As both a composer and conductor he was one of many (e.g., Wilhelm Furtwangler, Dimitri Mitropoulos, Hermann Scherchen) in a contemporaneous tradition of conscientiously and non-literally handling notated musical figures, phrases, and even entire scores so as to maximize expressivity in performance and to cultivate audience engagement and understanding.  This aspect of Webern's work had been typically missed in his immediate post-war reception, however, even as it may radically affect the music's reception. For example, Boulez's "complete" recording of Webern's music yielded more to this aesthetic the second time after largely missing it the first; but Eliahu Inbal's rendition of Webern's symphony with the hr-Sinfonieorchester is still far more within the spirit of the late Romantic performance tradition (which Webern seemingly intended for his music), nearly slowing to half-tempo for the whole of first movement and taking care to delineate and shape each melodic strand and expressive gesture throughout the entirety of the work.  Gunter Wand's 1966 recording of the Cantata No. 1 (1938-40), op. 29, with the Symphonieorchester des Bayerischen Rundfunks et al., may likewise be contrasted with both of Boulez's renditions.

Where he from?

OUT: 

Answer the question at the end by quoting:

Rhapsody in Blue is a 1924 musical composition by American composer George Gershwin for solo piano and jazz band, which combines elements of classical music with jazz-influenced effects. Commissioned by bandleader Paul Whiteman, the composition was orchestrated by Ferde Grofe several times, including the original 1924 scoring, "theater orchestra" setting published in 1926, and the symphony orchestra scoring published in 1942, though completed earlier. The piece received its premiere in the concert, An Experiment in Modern Music, which was held on February 12, 1924, in Aeolian Hall, New York, by Whiteman and his band with Gershwin playing the piano. The editors of the Cambridge Music Handbooks opined that "The Rhapsody in Blue (1924) established Gershwin's reputation as a serious composer and has since become one of the most popular of all American concert works."
Rhapsody in Blue premiered in an afternoon concert on Tuesday, February 12, 1924, held by Paul Whiteman and his band Palais Royal Orchestra, entitled An Experiment in Modern Music, which took place in Aeolian Hall in New York City. Many important and influential composers of the time such as John Philip Sousa and Sergei Rachmaninoff were present. The event has since become historic specifically because of its premiere of the Rhapsody.  The purpose of the experiment, as told by Whiteman in a pre-concert lecture in front of many classical music critics and highbrows, was "to be purely educational". It would "at least provide a stepping stone which will make it very simple for the masses to understand, and therefore, enjoy symphony and opera". The program was long, including 26 separate musical movements, divided into 2 parts and 11 sections, bearing titles such as "True form of jazz" and "Contrast: legitimate scoring vs. jazzing". Gershwin's latest composition was the second to last piece (before Elgar's Pomp and Circumstance March No. 1). Many of the numbers sounded similar and the ventilation system in the concert hall was broken. People in the audience were losing their patience, until the clarinet glissando that opened Rhapsody in Blue was heard.  The Rhapsody was performed by Whiteman's band, with an added section of string players, and George Gershwin on piano. Gershwin decided to keep his options open as to when Whiteman would bring in the orchestra and he did not write down one of the pages for solo piano, with only the words "Wait for nod" scrawled by Grofe on the band score. Gershwin improvised some of what he was playing, and he did not write out the piano part until after the performance, so it is unknown exactly how the original Rhapsody sounded.  The opening clarinet glissando came into being during rehearsal when; "... as a joke on Gershwin, [Ross] Gorman (Whiteman's virtuoso clarinettist) played the opening measure with a noticeable glissando, adding what he considered a humorous touch to the passage. Reacting favourably to Gorman's whimsy, Gershwin asked him to perform the opening measure that way at the concert and to add as much of a 'wail' as possible."

When was Rhapsody in Blue started?

premiered in an afternoon concert on Tuesday, February 12, 1924,

input: Rain is considered a 'world star' due to his popularity, not only in South Korea and Japan, but throughout Asia, Europe and North America with fans in countries like China, Singapore, Thailand, Canada and United States. Much of his popularity is attributed to his various acting roles (varying from television like Full House to indie films like I'm a Cyborg, But That's OK to blockbusters like Ninja Assassin). Before landing his role in Speed Racer, he had expressed the desire to expand beyond the Asian market when he stated in an interview, "The reason I am active in Japan, Hong Kong, China and around Asia is that I want to succeed here and then go even more international...I would really like to see, is a top Asian artist emerge strongly from the Asian market, and then go on to succeed in the U.S. market."  Rain's appeal to all demographics has made him one of Korea's highest paid celebrities by endorsers with an asking price of $1 - 1.5 million USD per endorsement. Over the years, he endorsed brands such as Hyundai, Lotte, KB Card, Pizza Hut, Thailand dairy company Dutch Mill, Chinese pastry Fu Mu Cakes, Pantech, LG Electronics, SK Telecom and Pepsi. Rain has even done songs to tie-in with endorsement deals. "Still Believe" was used as both an ad and a music video for BMW Korea's "Meet the Truth" campaign with appearances by Rain as well as JYP. "Memory in My Hand" and "Any Dream" were used in campaigns for Pantech and Samsung, respectively, in China.  With his booming popularity throughout the world, he has been deemed a "cultural ambassador" as he has represented South Korea in inter-Asian musical events and has appeared in a Thai published textbook.

Answer this question "What roles"
output:
Much of his popularity is attributed to his various acting roles (varying from television like Full House to indie films like I'm a Cyborg,