IN: Born to a single mother, Betty Brown, in York on 23 December 1948, Davis was initially brought up by his grandparents there. His maternal grandfather, Walter Harrison, was the son of a wealthy trawlerman but was disinherited after joining the Communist Party; he led a 'hunger march' to London shortly after the more famous Jarrow March, which did not allow Communists to participate. His father, whom he met once after his mother's death, is Welsh. After his mother married Ronald Davis, the family moved to London, where they lived initially in a flat in Wandsworth which Davis has described as "a terrible little slum".

Whilst a student, Davis was active in the Federation of Conservative Students, becoming national chairman in 1973. Davis was first elected to Parliament in the 1987 general election as the MP for Boothferry which, in 1997, became the constituency of Haltemprice and Howden. He was a government whip when parliament voted on the Maastricht Treaty in 1992, angering many of the Maastricht Rebels on his own right-wing of the party. Davis's progression through the Conservative ranks eventually led to him becoming a Minister of State at the Foreign and Commonwealth Office (1994-97).  He rejected a shadow ministerial position under William Hague, opting instead to chair the Public Accounts Committee. In 1999, Davis presented the Parliamentary Control of the Executive Bill to the House of Commons, in which he proposed to transfer ministerial exercise of the Royal Prerogative to the Commons in the following areas: the signing of treaties, the diplomatic recognition of foreign governments; European Union legislation; the appointment of ministers, peers and ambassadors; the establishment of Royal Commissions; the proclamation of Orders in Council unless subject to resolutions of the Commons; the exercise of the powers of the executive not made by statute; the declarations of states of emergency; the dissolution of Parliament.  Davis used his first interview as Shadow Home Secretary in November 2003 to state his personal support for a reintroduction of the death penalty for people convicted of multiple murder "where there is clear evidence and no doubt" surrounding the offender's guilt, citing "Yorkshire Ripper" Peter Sutcliffe and Moors Murderer Ian Brady as examples of offenders who would fall into this category. This interview came almost 40 years after the abolition of the death penalty for murder. As Shadow Home Secretary, Davis turned the Conservatives away from the Labour Party's plan to reintroduce identity cards, citing spiralling costs and libertarian issues. He turned initial Conservative support into one of concern and abstention, making the final change to one of opposition much easier. Davis believed that once the true cost and unreliability of the ID card scheme was explained to the general public, they would turn against it. He was also credited, by some commentators, with "claiming the scalps" of two Labour ministers, David Blunkett and Beverley Hughes after both were forced to resign.

What did David Davis do politically after his student time in politics?

OUT: Davis was first elected to Parliament in the 1987


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 published little of his early work in particular; like Brahms, though perhaps for not entirely the same reasons, Webern was characteristically meticulous and revised extensively. Many juvenilia remained unknown until the work and findings of the Moldenhauers in the 1960s, effectively obscuring and undermining formative facets of Webern's musical identity, highly significant even more so in the case of an innovator whose music was crucially marked by rapid stylistic shifts. Thus when Boulez first oversaw a project to record "all" of Webern's music, not including the juvenilia, the results fit on three rather than six CDs.  Webern's earliest works consist primarily of lieder, the genre that most belies his roots in Romanticism, specifically German Romanticism; one in which the music yields brief but explicit, potent, and spoken meaning manifested only latently or programmatically in purely instrumental genres; one marked by significant intimacy and lyricism; and one which often associates nature, especially landscapes, with themes of homesickness, solace, wistful yearning, distance, utopia, and belonging. Robert Schumann's "Mondnacht" is an iconic example; Eichendorff, whose lyric poetry inspired it, is not far removed from the poets (e.g., Richard Dehmel, Gustav Falke, Theodor Storm) whose work inspired Webern and his contemporaries Alban Berg, Max Reger, Arnold Schoenberg, Richard Strauss, Hugo Wolf, and Alexander Zemlinsky. Wolf's Morike-Lieder were especially influential on Webern's efforts from this period. But well beyond these lieder alone, all of Webern's music may be said to possess such concerns and qualities, as is evident from his sketches, albeit in an increasingly symbolic, abstract, spare, introverted, and idealized manner.  Other works include the orchestral tone poem Im Sommerwind (1904) and the Langsamer Satz (1905) for string quartet.  Webern's first piece after completing his studies with Schoenberg was the Passacaglia for orchestra (1908). Harmonically, it is a step forward into a more advanced language, and the orchestration is somewhat more distinctive than his earlier orchestral work. However, it bears little relation to the fully mature works he is best known for today. One element that is typical is the form itself: the passacaglia is a form which dates back to the 17th century, and a distinguishing feature of Webern's later work was to be the use of traditional compositional techniques (especially canons) and forms (the Symphony, the Concerto, the String Trio, and String Quartet, and the piano and orchestral Variations) in a modern harmonic and melodic language.

is there anything interesting in the article?

OUT:
Webern's earliest works consist primarily of lieder, the genre that most belies his roots in Romanticism, specifically German Romanticism;