input: Johnston had various remaining military units scattered throughout his territory and retreating to the south to avoid being cut off. Johnston himself retreated with the force under his personal command, the Army of Central Kentucky, from the vicinity of Nashville. With Beauregard's help, Johnston decided to concentrate forces with those formerly under Polk and now already under Beauregard's command at the strategically located railroad crossroads of Corinth, Mississippi, which he reached by a circuitous route. Johnston kept the Union forces, now under the overall command of the ponderous Maj. Gen. Henry Halleck, confused and hesitant to move, allowing Johnston to reach his objective undetected. This delay allowed Jefferson Davis finally to send reinforcements from the garrisons of coastal cities and another highly rated but prickly general, Braxton Bragg, to help organize the western forces. Bragg at least calmed the nerves of Beauregard and Polk who had become agitated by their apparent dire situation in the face of numerically superior forces before the arrival of Johnston on March 24, 1862.  Johnston's army of 17,000 men gave the Confederates a combined force of about 40,000 to 44,669 men at Corinth. On March 29, 1862, Johnston officially took command of this combined force, which continued to use the Army of the Mississippi name under which it had been organized by Beauregard on March 5.  Johnston now planned to defeat the Union forces piecemeal before the various Union units in Kentucky and Tennessee under Grant with 40,000 men at nearby Pittsburg Landing, Tennessee, and the now Maj. Gen. Don Carlos Buell on his way from Nashville with 35,000 men, could unite against him. Johnston started his army in motion on April 3, 1862, intent on surprising Grant's force as soon as the next day, but they moved slowly due to their inexperience, bad roads and lack of adequate staff planning. Due to the delays, as well as several contacts with the enemy, Johnston's second in command, P. G. T. Beauregard, felt the element of surprise had been lost and recommended calling off the attack. Johnston decided to proceed as planned, stating "I would fight them if they were a million." His army was finally in position within a mile or two of Grant's force, and undetected, by the evening of April 5, 1862.

Answer this question "did anyone die at the concentration at corinth?"
output: 

input: The Iberians produced sculpture in stone and bronze, most of which was much influenced by the Greeks and Phoenicians, and other cultures such as Assyrian, Hittite and Egyptian influences. The styles of Iberian sculpture are divided geographically into Levantine, Central, Southern, and Western groups, of which the Levantine group displays the most Greek influence. Iberian pottery and painting was also distinct and widespread throughout the region.  The Iberian polytheistic religion was influenced by the Greek and Phoenician practices, as it is evident in their sculptures. The man-bull Bicha of Balazote (possibly a fertility deity) and various depictions of sphinxes and lions bear a resemblance to eastern Mediterranean mythological creatures. The Lady of Elche and Lady of Guardamar show clear Hellenistic influence. Phoenician and Greek deities like Tanit, Baal, Melkart, Artemis, Demeter and Asclepius were known in the region and worshiped. Currently few native Iberian gods are known, though the oracular healing deity "Betatun" is known from a Latin inscription at Fuertes del Rey. There was clearly an important female deity associated with the earth and regeneration as depicted by the Lady of Baza and linked with birds, flowers and wheat. The horse was also an important religious figure and an important sanctuary dedicated to Horses has been found in Mula (Murcia). There are many depictions of a "horse taming god" or "lord of the horses" (despotes hippon). The female goddess Ataegina is also widely attested in the inscriptions.  Iberians performed their rites in the open and also maintained sanctuaries in holy places like groves, springs and caves. Archaeological evidence suggests the existence of a priestly class and Silius Italicus mentions priests in the region of Tartessos at a temple of Melqart. Evidence from pottery reveals some information about Iberian myth and ritual. Common themes are a celebratory ritual dance described by Strabo [c.f. 3.3.7.] and seen in a relief from Fuerte del Rey known as the "Bastetania dance" and the confrontation between the deceased and a wolf figure. Ritual sacrifice of animals was also common.  The Iberians incinerated their dead and placed their ashes in ceremonial urns, the remains were then placed in stone tombs.  Iberians venerated the war god Cariociecus.

Answer this question "What religion did the Iberians practice?"
output: The Iberian polytheistic religion was influenced by the Greek and Phoenician practices,

input: On 29 December 1951, in Hamburg, Stockhausen married Doris Andreae (Kurtz 1992, 45; Maconie 2005, 47). Together they had four children: Suja (b. 1953), Christel (b. 1956), Markus (b. 1957), and Majella (b. 1961) (Kurtz 1992, 90; Tannenbaum 1987, 94). They were divorced in 1965 (Rathert 2013). On 3 April 1967, in San Francisco, he married Mary Bauermeister, with whom he had two children: Julika (b. 22 January 1966) and Simon (b. 1967) (Kurtz 1992, 141, 149; Tannenbaum 1987, 95). They were divorced in 1972 (Rathert 2013; Stockhausen-Stiftung & [2013]).  Four of Stockhausen's children became professional musicians (Kurtz 1992, 202), and he composed some of his works specifically for them. A large number of pieces for the trumpet--from Sirius (1975-77) to the trumpet version of In Freundschaft (1997)--were composed for and premiered by his son Markus (Kurtz 1992, 208; M. Stockhausen 1998, 13-16; Tannenbaum 1987, 61). Markus, at the age of 4 years, had performed the part of The Child in the Cologne premiere of Originale, alternating performances with his sister Christel (Maconie 2005, 220). Klavierstuck XII and Klavierstuck XIII (and their versions as scenes from the operas Donnerstag aus Licht and Samstag aus Licht) were written for his daughter Majella, and were first performed by her at the ages of 16 and 20, respectively (Maconie 2005, 430, 443; Stockhausen Texte, 5:190, 255, 274; Stockhausen Texte, 6:64, 373). The saxophone duet in the second act of Donnerstag aus Licht, and a number of synthesizer parts in the Licht operas, including Klavierstuck XV ("Synthi-Fou") from Dienstag, were composed for his son Simon (Kurtz 1992, 222; Maconie 2005, 480, 489; Stockhausen Texte, 5:186, 529), who also assisted his father in the production of the electronic music from Freitag aus Licht. His daughter Christel is a flautist who performed and gave a course on interpretation of Tierkreis in 1977 (Stockhausen Texte, 5:105), later published as an article (C. Stockhausen 1978).  In 1961, Stockhausen acquired a parcel of land in the vicinity of Kurten, a village east of Cologne, near Bergisch Gladbach in the Bergisches Land. He had a house built there, which was designed to his specifications by the architect Erich Schneider-Wessling, and he resided there from its completion in the autumn of 1965 (Kurtz 1992, 116-17, 137-38).

Answer this question "How many kids did they have together ?"
output:
with whom he had two children: