Problem: Background: O'Neill was born in a hotel, the Barrett House, at Broadway and 43rd Street, on what was then Longacre Square (now Times Square). A commemorative plaque was first dedicated there in 1957. The site is now occupied by 1500 Broadway, which houses offices, retail, and ABC Studios. He was the son of Irish immigrant actor James O'Neill and Mary Ellen Quinlan, who was also of Irish descent.
Context: After suffering from multiple health problems (including depression and alcoholism) over many years, O'Neill ultimately faced a severe Parkinsons-like tremor in his hands which made it impossible for him to write during the last 10 years of his life; he had tried using dictation but found himself unable to compose in that way. While at Tao House, O'Neill had intended to write a cycle of 11 plays chronicling an American family since the 1800s. Only two of these, A Touch of the Poet and More Stately Mansions, were ever completed. As his health worsened, O'Neill lost inspiration for the project and wrote three largely autobiographical plays, The Iceman Cometh, Long Day's Journey into Night, and A Moon for the Misbegotten. He managed to complete Moon for the Misbegotten in 1943, just before leaving Tao House and losing his ability to write. Drafts of many other uncompleted plays were destroyed by Carlotta at Eugene's request.  O'Neill died in Room 401 of the Sheraton Hotel (now Boston University's Shelton Hall) on Bay State Road in Boston, on November 27, 1953, at the age of 65. As he was dying, he whispered his last words: "I knew it. I knew it. Born in a hotel room and died in a hotel room." Dr. Harry Kozol, the lead prosecuting expert of the Patty Hearst trial, treated O'Neill during these last years of illness. He also was present for O'Neill's death and announced the fact to the public.  O'Neill is interred in the Forest Hills Cemetery in Boston's Jamaica Plain neighborhood.  In 1956 Carlotta arranged for his autobiographical play Long Day's Journey into Night to be published, although his written instructions had stipulated that it not be made public until 25 years after his death. It was produced on stage to tremendous critical acclaim and won the Pulitzer Prize in 1957. This last play is widely considered to be his finest. Other posthumously-published works include A Touch of the Poet (1958) and More Stately Mansions (1967).  The United States Postal Service honored O'Neill with a Prominent Americans series (1965-1978) $1 postage stamp.
Question: how many were published?
Answer: Only two of these, A Touch of the Poet and More Stately Mansions, were ever completed. As his health worsened,

Problem: Background: Henryk Mikolaj Gorecki (Polish: ['xenrik mji'kowaj gu'retski]; English pronunciation Go-RET-ski; December 6, 1933 - November 12, 2010) was a Polish composer of contemporary classical music. According to critic Alex Ross, no recent classical composer has had as much commercial success as Gorecki. Gorecki became a leading figure of the Polish avant-garde during the post-Stalin cultural thaw.
Context: The first public performances of Gorecki's music in Katowice in February 1958 programmed works clearly displaying the influence of Szymanowski and Bartok. The Silesian State Philharmonic in Katowice held a concert devoted entirely to the 24-year-old Gorecki's music. The event led to a commission to write for the Warsaw Autumn Festival. The Epitafium ("Epitaph") he submitted marked a new phase in his development as a composer, and was described as representing "the most colourful and vibrant expression of the new Polish wave". The Festival announced the composer's arrival on the international scene, and he quickly became a favorite of the West's avant-garde musical elite. Writing in 1991, the music critic James Wierzbicki described how that at this time "Gorecki was seen as a Polish heir to the new aesthetic of post-Webernian serialism; with his taut structures, lean orchestrations and painstaking concern for the logical ordering of pitches".  Gorecki wrote his First Symphony in 1959, and graduated with honours from the Academy the following year. At the 1960 Warsaw Autumn Festival, his Scontri, written for orchestra, caused a sensation among critics due to its use of sharp contrasts and harsh articulations. By 1961, Gorecki was at the forefront of the Polish avant-garde, having absorbed the modernism of Anton Webern, Iannis Xenakis and Pierre Boulez, and his Symphony No. 1 gained international acclaim at the Paris Biennial Festival of Youth. Gorecki moved to Paris to continue his studies, and while there was influenced by contemporaries including Olivier Messiaen, Roman Palester, and Karlheinz Stockhausen.  He began to lecture at the Academy of Music in Katowice in 1968, where he taught score-reading, orchestration and composition. In 1972, he was promoted to assistant professor, and developed a fearsome reputation among his students for his often blunt personality. According to the Polish composer Rafal Augustyn, "When I began to study under Gorecki it felt as if someone had dumped a pail of ice-cold water over my head. He could be ruthless in his opinions. The weak fell by the wayside but those who graduated under him became, without exception, respected composers". Gorecki admits, "For quite a few years, I was a pedagogue, a teacher in the music academy, and my students would ask me many, many things, including how to write and what to write. I always answered this way: If you can live without music for 2 or 3 days, then don't write...It might be better to spend time with a girl or with a beer...If you cannot live without music, then write." Due to his commitments as a teacher and also because of bouts of ill health, he composed only intermittently during this period.
Question: Did he perform in any festivals?
Answer:
led to a commission to write for the Warsaw Autumn Festival.