input: After obtaining his magister degree in 1793, his mother expected him to enter the ministry. However, Holderlin found no satisfaction in the prevailing Protestant theology, and worked instead as a private tutor. In 1794, he met Friedrich Schiller and Johann Wolfgang Goethe and began writing his epistolary novel Hyperion. In 1795 he enrolled for a while at the University of Jena where he attended Johann Gottlieb Fichte's classes and met Novalis.  There is a seminal manuscript, dated 1797, now known as the Das alteste Systemprogramm des deutschen Idealismus ("The Oldest Systematic Program of German Idealism"). Although the document is in Hegel's handwriting, it is thought to have been written by either Hegel, Schelling, Holderlin, or an unknown fourth person.  As a tutor in Frankfurt am Main from 1796 to 1798 he fell in love with Susette Gontard, the wife of his employer, the banker Jakob Gontard. The feeling was mutual, and this relationship became the most important in Holderlin's life. After a while, their affair was discovered, and Holderlin was harshly dismissed. He then lived in Homburg from 1798 to 1800, meeting Susette in secret once a month and attempting to establish himself as a poet, but his life was plagued by financed worries and had to accept a small allowance from his mother. His mandated separation from Susette Gontard also worsened Holderlin's doubts about himself and his value as a poet; he wished to transform German culture but did not have the influence he needed. From 1797 to 1800, he produced three versions--all unfinished--of a tragedy in the Greek manner, The Death of Empedocles, and composed odes in the vein of the Ancient Greeks Alcaeus and Asclepiades of Samos.

Answer this question "What was his first project?"
output: In 1794, he met Friedrich Schiller and Johann Wolfgang Goethe and began writing his epistolary novel Hyperion.

input: After the divorce from her husband, Langtry was linked in the popular press to Prince Louis Esterhazy; they shared time together and both had an interest in horse racing. However, in 1899, she married 28-year-old Hugo Gerald de Bathe (1871-1940), son of Sir Henry de Bathe, 4th Baronet and Charlotte Clare. Hugo's parents had initially not married, due to objections from the de Bathe family. They lived together and seven of their children were born out of wedlock. They married after the death of Sir Henry's father in 1870, and Hugo was their first son born in wedlock - making him heir to the baronetcy.  The wedding between Langtry and de Bathe took place in St Saviour's Church, Jersey, on July 27, 1899, with Jeanne Marie Langtry being the only other person present, apart from the officials. This was the same day that Langtry's horse, Merman, won the Goodwood Cup. In December 1899, de Bathe volunteered to join the British forces in the Boer War. He was assigned to the Robert's Horse mounted brigade as a lieutenant. In 1907, Hugo's father died; he became the 5th Baronet, and Langtry became Lady de Bathe.  When Hugo de Bathe became the 5th Baronet, he inherited properties in Sussex, Devon and Ireland; those in Sussex were in the hamlet of West Stoke near Chichester. These were: Woodend, 17 bedrooms set in 71 acres; Hollandsfield, 10 bedrooms set in 52 acres and Balsom's Farm of 206 acres. Woodend was retained as the de Bathe residence whilst the smaller Hollandsfield was let.  Today the buildings retain their period appearance, but modifications and additions have been made, and the complex is now multi-occupancy. One of the houses on the site is named Langtry and another Hardy. The de Bathe properties were all sold in 1919, the same year Lady de Bathe sold Regal Lodge.

Answer this question "How did she meet Hugo?"
output: After the divorce from her husband, Langtry was linked in the popular press to Prince Louis Esterhazy; they shared time together and both had an interest in horse racing.

input: Although big bands are identified with the swing era, they continued to exist after those decades, though the music they played was often different from swing. Bandleader Charlie Barnet's recording of "Cherokee" in 1942 and "The Moose" in 1943 have been called the beginning of the bop era. Woody Herman's first band, nicknamed the First Herd, borrowed from progressive jazz, while the Second Herd emphasized the saxophone section of three tenors and one baritone. In the 1950s, Stan Kenton referred to his band's music as "progressive jazz", "modern", and "new music". He created his band as a vehicle for his compositions. Kenton pushed the boundaries of big bands by combining clashing elements and by hiring arrangers whose ideas about music conflicted. This expansive eclecticism characterized much of jazz after World War II. During the 1960s and '70s, Sun Ra and his Arketstra took big bands further out. Ra's eclectic music was played by a roster of musicians from ten to thirty and was presented as theater, with costumes, dancers, and special effects.  As jazz was expanded during the 1950s through the 1970s, the Basie and Ellington bands were still around, as were bands led by Buddy Rich, Gene Krupa, Lionel Hampton, Earl Hines, Les Brown, Clark Terry, and Doc Severinsen. Progressive bands were led by Dizzy Gillespie, Gil Evans, Carla Bley, Toshiko Akiyoshi and Lew Tabackin, Don Ellis, and Anthony Braxton.  Other bandleaders used Brazilian and Afro-Cuban music with big band instrumentation, and big bands led by arranger Gil Evans, saxophonist John Coltrane (on the album Ascension from 1965) and bass guitarist Jaco Pastorius introduced cool jazz, free jazz and jazz fusion, respectively, to the big band domain. Modern big bands can be found playing all styles of jazz music. Some large contemporary European jazz ensembles play mostly avant-garde jazz using the instrumentation of the big bands. Examples include the Vienna Art Orchestra, founded in 1977, and the Italian Instabile Orchestra, active in the 1990s.  In the late 1990s, there was a swing revival in the U.S. The Lindy Hop became popular again and young people took an interest in big band styles again.  Big bands maintained a presence on American television, particularly through the late-night talk show, which has historically used big bands as house accompaniment. Typically the most prominent shows with the earliest time slots and largest audiences have bigger bands with horn sections while those in later time slots go with smaller, leaner ensembles.

Answer this question "Was there mention of any big bands?"
output:
Charlie Barnet's recording of "Cherokee" in 1942 and "The Moose" in 1943