Question: Francis Jean Marcel Poulenc (French: [fRasis Za maRsel pulek]; 7 January 1899 - 30 January 1963) was a French composer and pianist. His compositions include melodies, solo piano works, chamber music, choral pieces, operas, ballets, and orchestral concert music. Among the best-known are the piano suite Trois mouvements perpetuels (1919), the ballet Les biches (1923), the Concert champetre (1928) for harpsichord and orchestra, the Organ Concerto (1938), the opera Dialogues des Carmelites (1957), and the Gloria (1959) for soprano, choir and orchestra.

Poulenc, a highly accomplished pianist, usually composed at the piano and wrote many pieces for the instrument throughout his career. In Henri Hell's view, Poulenc's piano writing can be divided into the percussive and the gentler style reminiscent of the harpsichord. Hell considers that the finest of Poulenc's music for piano is in the accompaniments to the songs, a view shared by Poulenc himself. The vast majority of the piano works are, in the view of the writer Keith W Daniel, "what might be called 'miniatures'". Looking back at his piano music in the 1950s, the composer viewed it critically: "I tolerate the Mouvements perpetuels, my old Suite en ut [in C], and the Trois pieces. I like very much my two collections of Improvisations, an Intermezzo in A flat, and certain Nocturnes. I condemn Napoli and the Soirees de Nazelles without reprieve."  Of the pieces cited with approval by Poulenc, the fifteen Improvisations were composed at intervals between 1932 and 1959. All are brief: the longest lasts a little more than three minutes. They vary from swift and balletic to tender lyricism, old-fashioned march, perpetuum mobile, waltz and a poignant musical portrait of the singer Edith Piaf. Poulenc's favoured Intermezzo was the last of three. Numbers one and two were composed in August 1934; the A flat followed in March 1943. The commentators Marina and Victor Ledin describe the work as "the embodiment of the word 'charming'. The music seems simply to roll off the pages, each sound following another in such an honest and natural way, with eloquence and unmistakable Frenchness." The eight nocturnes were composed across nearly a decade (1929-38). Whether or not Poulenc originally conceived them as an integral set, he gave the eighth the title "To serve as Coda for the Cycle" (Pour servir de Coda au Cycle). Although they share their generic title with the nocturnes of Field, Chopin and Faure, Poulenc's do not resemble those of the earlier composers, being "night-scenes and sound-images of public and private events" rather than romantic tone poems.  The pieces Poulenc found merely tolerable were all early works: Trois mouvements perpetuels dates from 1919, the Suite in C from 1920 and the Trois pieces from 1928. All consist of short sections, the longest being the "Hymne", the second of the three 1928 pieces, which lasts about four minutes. Of the two works their composer singled out for censure, Napoli (1925) is a three-movement portrait of Italy, and Les Soirees de Nazelles is described by the composer Geoffrey Bush as "the French equivalent of Elgar's Enigma Variations" - miniature character sketches of his friends. Despite Poulenc's scorn for the work, Bush judges it ingenious and witty. Among the piano music not mentioned, favourably or harshly, by Poulenc, the best known pieces include the two Novelettes (1927-28), the set of six miniatures for children, Villageoises (1933), a piano version of the seven-movement Suite francaise (1935), and L'embarquement pour Cythere for two pianos (1953).

Using a quote from the above article, answer the following question: What musical instrument did Poulenc play?
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Answer: piano


Question: Richard was born on 2 October 1452 at Fotheringhay Castle, the twelfth of thirteen children of Richard Plantagenet, 3rd Duke of York and Cecily Neville at the beginning of what has traditionally been labelled the "Wars of the Roses", a period of "three or four decades of political instability and periodic open civil war in the second half of the fifteenth century", between supporters of Richard's father (a potential claimant to the throne of King Henry VI from birth)--"Yorkists"--in opposition to the regime of Henry VI and his wife, Margaret of Anjou, and those loyal to the crown ("Lancastrians"). When his father and the Nevilles were forced to flee to Ludlow in 1459, Richard and his older brother, George (later Duke of Clarence), were placed in the custody of the Duchess of Buckingham, and the Archbishop of Canterbury. When his father and elder brother Edmund, Earl of Rutland, were killed at the Battle of Wakefield on 30 December 1460, Richard, who was eight years old, and George were sent by his mother, the Duchess of York, to the Low Countries. They returned to England following the defeat of the Lancastrians at the Battle of Towton and participated in the coronation of Richard's eldest brother as King Edward IV in June 1461.

In 1485, following his death in battle against Henry Tudor at Bosworth Field, Richard III's body was buried in Greyfriars Church in Leicester.  Following the discoveries of Richard's remains in 2012, it was decided that they should be reburied at Leicester Cathedral, despite feelings in some quarters that he should have been reburied in York Minster. His remains were carried in procession to the cathedral on 22 March 2015, and reburied on 26 March 2015 at a religious re-burial service at which both the Right Reverend Tim Stevens, the Bishop of Leicester, and the Most Reverend Justin Welby, the Archbishop of Canterbury, officiated. The British Royal Family was represented by the Duke and Duchess of Gloucester and the Countess of Wessex. The actor Benedict Cumberbatch, who is a distant relation of the king and later portrayed him in The Hollow Crown television series, read a poem by Poet Laureate Carol Ann Duffy.  His cathedral tomb was designed by the architects van Heyningen and Haward. The tombstone is deeply incised with a cross, and consists of a rectangular block of white Swaledale fossil stone, quarried in North Yorkshire. It sits on a low plinth made of dark Kilkenny marble, incised with Richard's name, dates and motto (Loyaulte me lie - loyalty binds me). The plinth also carries his coat of arms in pietra dura. The remains of Richard III are in a lead-lined coffin, inside an outer English oak coffin crafted by Michael Ibsen, a direct descendant of Richard's sister Anne of York, and laid in a brick-lined vault below the floor, and below the plinth and tombstone. The original 2010 raised tomb design had been proposed by Langley`s "Looking For Richard Project" and fully funded by members of the Richard III Society. The proposal was publicly launched by the Society on 13 February 2013 but rejected by Leicester Cathedral in favour of a memorial slab. However, following a public outcry, the Cathedral changed its position and on 18 July 2013 announced its agreement to give King Richard III a raised tomb monument.

Using a quote from the above article, answer the following question: Where was he buried?
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Answer:
Richard III's body was buried in Greyfriars Church in Leicester.