input: Ligeti was born in 1923 at Dicsoszentmarton (which was renamed Tarnaveni in 1941), in the Romanian region of Transylvania to Dr. Sandor Ligeti and Dr. Ilona Somogyi. His family was Hungarian Jewish. He was the grandnephew of the violinist Leopold Auer and cousin of Hungarian philosopher Agnes Heller.  Ligeti recalled that his first exposure to languages other than Hungarian came one day while listening to a conversation among the Romanian-speaking town police. Before that he had not known that other languages existed. He moved to Cluj with his family when he was six years old. He was not to return to the town of his birth until the 1990s. In 1940, Northern Transylvania was annexed by Hungary following the Second Vienna Award and Cluj became part of Hungary.  In 1941 Ligeti received his initial musical training at the conservatory in Cluj, and during the summers privately with Pal Kadosa in Budapest. In 1944, Ligeti's education was interrupted when he was sent to a forced labor brigade by the Horthy regime. His brother, age 16, was deported to the Mauthausen-Gusen concentration camp and both of his parents were sent to Auschwitz. His mother was the only other survivor of his immediate family.  Following World War II, Ligeti returned to his studies in Budapest, Hungary, graduating in 1949 from the Franz Liszt Academy of Music. He studied under Pal Kadosa, Ferenc Farkas, Zoltan Kodaly and Sandor Veress. He went on to do ethnomusicological research into the Hungarian folk music of Transylvania. However, after a year he returned to Franz Liszt Academy in Budapest, this time as a teacher of harmony, counterpoint and musical analysis, a position he secured with the help of Kodaly and held between 1950 and 1956. As a young teacher, Ligeti took the unusual step of regularly attending the lectures of an older colleague, the conductor and musicologist Lajos Bardos, a conservative Christian whose circle represented for Ligeti a safe haven, and whose help and advice he later acknowledged in the prefaces to his own two harmony textbooks (1954 and 1956). However, communications between Hungary and the West by then had become difficult due to the restrictions of the communist government, and Ligeti and other artists were effectively cut off from recent developments outside the Eastern Bloc.

Answer this question "Where did he grew up?"
output: He moved to Cluj with his family when he was six years old. He was not to return to the town of his birth until the 1990s.

input: Maulbetsch's breakthrough came on October 31, 1914, in front of 30,000 fans at Harvard. The game was one of the most anticipated matches of the year. A special train brought Michigan fans to Cambridge, Massachusetts, and hundreds of Michigan alumni from the East were on hand as "reinforcements." Though Harvard prevailed, 7-0, Maulbetsch was the big story in papers across the country. Writers from Ring Lardner to Damon Runyon told the story of Maulbetsch's performance. Lardner said: "If anyone tells you the East plays the best brand of football, Maulbetsch shot that theory full of holes." According to Runyon, the Wolverines used "the mighty Maulbetsch as their battering ram", and he "gained enough ground against Harvard to bury a German army corps." Football writer Frank G. Menke said: "No westerner ever created half the stir in the east as did this Michigander . . . His peculiar, baffling style of attack, backed by phenomenal strength almost always earned for him gains of 5 to 20 yards every time he was called upon to carry the ball." Another writer noted Maulbetsch's skill as a "line breaker" as he "carried the ball repeatedly through the Harvard line and into the secondary defense with bullet-like rushes that upset tackler after tackler." Maulbetsch was responsible for four-fifths of Michigan's ground gains, and on several occasions his dives reportedly "had so much power that he dove right through a double line of crimson players and went sprawling on the ground twelve to twenty feet clear of the double line."  While every report indicates that Maulbetsch had a big day, the accounts vary dramatically as to exactly how many yards he gained. Frank Menke reported after the game that Maulbetsch gained 300 yards. A 1938 newspaper account said he "gained 350 yards from scrimmage." Yet, his 1951 obituary indicated he gained 133 yards in 30 attempts.  Despite Maulbetsch's efforts, Michigan was never able to punch the ball across the goal line. Many blamed Michigan's quarterback who switched to another back every time after Maulbetsch "took the ball to the shadow of the Crimson goal posts." In answer to the question why Michigan was unable to score, Frank Menke said: "Ask the fellow who quarterbacked for Michigan that day. His actions were too mystifying for the spectators to figure out."  When Harvard reneged on an agreement to play a game in Ann Arbor in 1915, sports writers concluded it was to avoid facing Maulbetsch again. Said one reporter: "When faih Hahvahd [sic] saw what Maulbetsch did in the first clash, it decided it cared to see no more of him. He was too rough."

Answer this question "Who was the game against?"
output: Harvard.

input: 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.

Answer this question "What types of markings are in his scores?"
output:
anecdotes, correspondence, extant recordings of Schubert's Deutsche Tanze