Problem: Gabriel Omar Batistuta (Spanish pronunciation: [ga'brjel o'mar batis'tuta]; born 1 February 1969), nicknamed Batigol [bati'gol] as well as El Angel Gabriel [el ,aNGxel ga'brjel] (Spanish for Angel Gabriel), is a retired Argentine professional footballer. After beginning his career in Argentina in 1988, where he won titles playing for Newell's Old Boys, River Plate, and subsequently Boca Juniors, the prolific striker played most of his club football with Fiorentina in Italy; he is the twelfth-highest scorer of all-time in the Italian Serie A, with 184 goals in 318 matches. When his club Fiorentina was relegated to Serie B in 1993, Batistuta stayed with the club and helped it return to the top-flight league a year later.

While playing for Argentina in the 1991 Copa America, the vice-president of Fiorentina was impressed by Batistuta's skills and signed him. He had a fine start in Serie A, scoring 13 goals in his debut season. However, the following season, in 1992-93, Fiorentina lost in the relegation battle and were demoted to Serie B, despite Batistuta's 16 league goals. The club returned to Serie A after one season in Serie B, with the contribution of 16 goals from Batistuta and the management of Claudio Ranieri, as Fiorentina captured the 1993-94 Serie B title.  At Fiorentina, Batistuta found his best form. He was the top scorer of the 1994-95 Serie A season with 26 goals, and he broke Ezio Pascutti's 30-year-old record by scoring in all of the first 11 matches of the season. In the 1995-96 season, Batistuta, alongside Manuel Rui Costa and Francesco Baiano, helped the club to go on a 15-match unbeaten run, as they eventually ended the season with a fourth-place league finish. Fiorentina also won the Coppa Italia and Supercoppa Italiana over Milan; in the two-legged Coppa Italia final against Atalanta, Batistuta scored a goal in each fixture as Fiorentina won 3-0 on aggregate. The next season was less successful, as Fiorentina finished in a disappointing ninth place in the league, although the team managed to reach the semi-finals of the 1996-97 UEFA Cup Winners' Cup, losing out to eventual champions Barcelona, despite scoring a goal in a 1-1 away draw in the first leg.  After his failure to win the Italian championship with Fiorentina, Batistuta started considering a transfer to a bigger team. In an effort to keep Batistuta, Fiorentina hired Giovanni Trapattoni as coach and promised to do everything to win the Scudetto. After an excellent start to the season, Batistuta suffered an injury that kept him out of action for more than a month. Losing momentum, Fiorentina lost the lead and finished the season in third place, although the result enabled them to participate in the Champions League the following season.

Who was the manager during his B season?

Answer with quotes: The club returned to Serie A after one season in Serie B, with the contribution of 16 goals from Batistuta and the management of Claudio Ranieri,


Problem: Alejo Carpentier y Valmont (December 26, 1904 - April 24, 1980) was a Cuban novelist, essayist, and musicologist who greatly influenced Latin American literature during its famous "boom" period. Born in Lausanne, Switzerland, Carpentier grew up in Havana, Cuba, and despite his European birthplace, he strongly self-identified as Cuban throughout his life. He traveled extensively, particularly in France, and to South America and Mexico, where he met prominent members of the Latin American cultural and artistic community. Carpentier took a keen interest in Latin American politics and often aligned himself with revolutionary movements, such as Fidel Castro's Communist Revolution in Cuba in the mid-20th century.

As a young child Carpentier was exposed to a great deal of music. Carpentier himself played the piano, as did his mother; his father played cello, studying under Pablo Casals, and his grandmother played the organ. Carpentier studied music theory at the Lycee Jeanson de Sailly when he lived in Paris for the first time. Carpentier's own compositions made him an important part of the contemporary Cuban musical landscape, but he also studied the origins and political nuances of Cuban music. His devotion to the adaptations of European artistic styles into Latin American music styles can also be seen in his admiration for Afro-Cuban musical themes.  Early in his career Carpentier collaborated with other young musicians eager to explore Cuban musical roots. One such collaborator was Amadeo Roldan, a French musician of Cuban background. They helped to organize the Cuban premiere of popular orchestral music of the era Conciertos de musica nueva (Concerts of New Music), featuring composers such as Stravinsky, Milhaud, Ravel, Malipiero, Poulenc and Erik Satie. In regards to their own music, Carpentier and Roldan were far more interested in integrating African rhythms and melodies into their works and abandoned imitation of European musical styles. "!Abajo la lira, arriba el bongo!" (Down with the lyre, up with the bongo!) was the popular slogan for their style of music. Carpentier and Roldan collaborated on numerous works, including the 1925 orchestral piece Obertura sobre temas cubanos (Overture on Cuban Themes) which was regarded as scandalous for its betrayal of what was seen as the proper European-style symphony in favor of Afro-Cuban inspired music. Other well-known collaborations between the two included Tres pequenas poemas: Oriente, Pregon, Fiesta negra (Three little poems) produced in 1926, and two Afro-Cuban ballets: La Rebambaramba, a colonial ballet in two parts (1928) and El milagro de Anaquille (1929).  Carpentier's interest in music had great influence on his prose writing. Navarro suggests that readers of Carpentier's works are more listeners than they are readers. Lyrical use of colloquial dialects, literary rhythms such as alliteration and assonance and the theme of music within the world of the narrative (drums, footsteps, etc.) are a few examples of music's influence over Carpentier's work. In an interview the author himself was quoted as saying "Music is present in all of my work." For Carpentier, analysis of Cuban identity was grounded in the analysis of Cuban music. As such, for Carpentier to better understand Cuban identity through his work, he eagerly integrated music into his writing.

Was he always interested in music?

Answer with quotes:
Carpentier himself played the piano, as did his mother; his father played cello, studying under Pablo Casals, and his grandmother played the organ.