Problem: Background: A choir () (also known as a quire, chorale or chorus) is a musical ensemble of singers. Choral music, in turn, is the music written specifically for such an ensemble to perform. Choirs may perform music from the classical music repertoire, which spans from the Medieval era to the present, or popular music repertoire. Most choirs are led by a conductor, who leads the performances with arm and face gestures.
Context: Composers of the late 18th century became fascinated with the new possibilities of the symphony and other instrumental music, and generally neglected choral music. Mozart's choral works, though not as numerous as his works for other media, stand out as some of his greatest (such as the "Great" Mass in C minor and Requiem in D minor, the latter of which is often considered the greatest Requiem Mass of all time). Haydn became more interested in choral music near the end of his life following his visits to England in the 1790s, when he heard various Handel oratorios performed by large forces; he wrote a series of masses beginning in 1797 and his two great oratorios The Creation and The Seasons. Beethoven wrote only two masses, both intended for liturgical use, although his Missa solemnis is probably suitable only for the grandest ceremonies due to its length, difficulty and large-scale scoring. He also pioneered the use of chorus as part of symphonic texture with his Ninth Symphony and Choral Fantasia.  In the 19th century, sacred music escaped from the church and leaped onto the concert stage, with large sacred works unsuitable for church use, such as Berlioz's Te Deum and Requiem, and Brahms's Ein deutsches Requiem. Rossini's Stabat mater, Schubert's masses, and Verdi's Requiem also exploited the grandeur offered by instrumental accompaniment. Oratorios also continued to be written, clearly influenced by Handel's models. Berlioz's L'enfance du Christ and Mendelssohn's Elijah and St Paul are in the category. Schubert, Mendelssohn, and Brahms also wrote secular cantatas, the best known of which are Brahms's Schicksalslied and Nanie.  A few composers developed a cappella music, especially Bruckner, whose masses and motets startlingly juxtapose Renaissance counterpoint with chromatic harmony. Mendelssohn and Brahms also wrote significant a cappella motets. The amateur chorus (beginning chiefly as a social outlet) began to receive serious consideration as a compositional venue for the part-songs of Schubert, Schumann, Mendelssohn, Brahms, and others. These 'singing clubs' were often for women or men separately, and the music was typically in four-part (hence the name "part-song") and either a cappella or with simple instrumentation. At the same time, the Cecilian movement attempted a restoration of the pure Renaissance style in Catholic churches.
Question: What was different about a capella?
Answer: Bruckner, whose masses and motets startlingly juxtapose Renaissance counterpoint with chromatic harmony.

Problem: Background: George Wright (January 28, 1847 - August 21, 1937) was an American baseball player. He played shortstop for the original Cincinnati Red Stockings, the first fully professional team, when he was the game's best player. In 1868, Wright won the Clipper Medal for being the best shortstop in baseball. He was elected to the Baseball Hall of Fame in 1937.
Context: Harry Wright was hired to organize a new team in Boston, where he signed three teammates including George for 1871. He brought along the nickname, too; if the nickname is the tenth man or the player-manager counts double, Harry thereby composed half the team that just missed winning the first National Association pennant. George suffered a broken leg and missed half the season; one more win at the right time would have been decisive in Boston's favor.  With some personnel changes, the Boston Red Stockings won the other four NA pennants, dominating so severely in 1875 that they helped provoke a new league. The team trailed badly in the first National League season, after the defection of its Big Four western players to Chicago, but rebounded to win again both 1877-78. George Wright had played an even decade for Harry's teams, beginning with the First Nine and closing with six league championships in seven. (Another 1869 hire, Andy Leonard, was present for all but the 1871 second-place finish.)  The Providence Grays, new in the NL for 1878, hired George to lead the team in 1879. He did as well as possible, wrestling the championship for himself from older brother Harry; for Providence and Rhode Island from older and regionally dominant Boston and Massachusetts.  But Wright & Ditson Sporting Goods was growing, so George returned to Boston for business reasons. He remains the only man to win the pennant in his lone season as manager. Meanwhile, the National League introduced the reserve list system, and Providence listed George, so he was not free to sign with Boston. (Until the 1879-80 off-season, every professional baseball player was a "free agent" for every season.) During the next two seasons he played only a few games.. When Boston changed managers for 1882, Harry signed to lead Providence and inherited the right to sign his brother. George agreed to play another season full-time, retiring after the 1882 season with a .302 batting average in the major leagues from 1871.  In 1882 George Wright took up cricket seriously again with the Longwood Cricket Club of Boston where he dominated local cricket sides with Isaac Chambers, the Longwood cricket pro and greenskeeper, holding up the other bowling end. In 1891 George Wright captained the Longwood Cricket Club against Lord Hawke's visiting English side. Wright's side surprised the visiting English first-class players with accurate bowling which kept the tourist in check. In 1892 George Wright donated cricket gear to British Guianese (Guyana) cricket players thereby starting a century old tradition of West Indian cricket in New England.
Question: What other team did he play for?
Answer:
The Providence Grays,