input: Webern published little of his early work in particular; like Brahms, though perhaps for not entirely the same reasons, Webern was characteristically meticulous and revised extensively. Many juvenilia remained unknown until the work and findings of the Moldenhauers in the 1960s, effectively obscuring and undermining formative facets of Webern's musical identity, highly significant even more so in the case of an innovator whose music was crucially marked by rapid stylistic shifts. Thus when Boulez first oversaw a project to record "all" of Webern's music, not including the juvenilia, the results fit on three rather than six CDs.  Webern's earliest works consist primarily of lieder, the genre that most belies his roots in Romanticism, specifically German Romanticism; one in which the music yields brief but explicit, potent, and spoken meaning manifested only latently or programmatically in purely instrumental genres; one marked by significant intimacy and lyricism; and one which often associates nature, especially landscapes, with themes of homesickness, solace, wistful yearning, distance, utopia, and belonging. Robert Schumann's "Mondnacht" is an iconic example; Eichendorff, whose lyric poetry inspired it, is not far removed from the poets (e.g., Richard Dehmel, Gustav Falke, Theodor Storm) whose work inspired Webern and his contemporaries Alban Berg, Max Reger, Arnold Schoenberg, Richard Strauss, Hugo Wolf, and Alexander Zemlinsky. Wolf's Morike-Lieder were especially influential on Webern's efforts from this period. But well beyond these lieder alone, all of Webern's music may be said to possess such concerns and qualities, as is evident from his sketches, albeit in an increasingly symbolic, abstract, spare, introverted, and idealized manner.  Other works include the orchestral tone poem Im Sommerwind (1904) and the Langsamer Satz (1905) for string quartet.  Webern's first piece after completing his studies with Schoenberg was the Passacaglia for orchestra (1908). Harmonically, it is a step forward into a more advanced language, and the orchestration is somewhat more distinctive than his earlier orchestral work. However, it bears little relation to the fully mature works he is best known for today. One element that is typical is the form itself: the passacaglia is a form which dates back to the 17th century, and a distinguishing feature of Webern's later work was to be the use of traditional compositional techniques (especially canons) and forms (the Symphony, the Concerto, the String Trio, and String Quartet, and the piano and orchestral Variations) in a modern harmonic and melodic language.

Answer this question "what were his works mainly about?"
output: all of Webern's music may be said to possess such concerns and qualities, as is evident from his sketches, albeit in an increasingly symbolic, abstract, spare, introverted, and idealized manner.

Problem: Background: Wishbone Ash are a British rock band who achieved success in the early and mid-1970s. Their popular albums included Wishbone Ash (1970), Pilgrimage (1971), Argus (1972), There's the Rub (1974), and New England (1976). Wishbone Ash are noted for their extensive use of the harmony twin lead guitar format which had been attracting electric blues bands since Jeff Beck and Jimmy Page had played together in the Yardbirds in 1966. Their contributions helped Andy Powell and Ted Turner to be voted "Two of the Ten Most Important Guitarists in Rock History" (Traffic magazine 1989), and to appear in the "Top 20 Guitarists of All Time" (Rolling Stone).
Context: In 1987, I.R.S. Records founder and original Wishbone manager Miles Copeland III began a series of albums entitled No Speak, which featured all instrumental music. To launch the label successfully, Copeland needed a big name band that would bring publicity to the project. Copeland approached the four founding members of Wishbone Ash about having the original line-up record an all-instrumental album. For the first time in fourteen years, Andy Powell and Steve Upton joined forces with Martin Turner and Ted Turner to record the album Nouveau Calls, released in February 1988. The original line-up's tour of 1988 was a huge success, as the band played large venues for the first time since the late 1970s. In August 1989, the band released a reunion album with vocals entitled Here to Hear, featuring mainly songs written by Ted and Martin Turner.  In 1990 the band went back into the studio to record the follow-up to Here to Hear. The band were shocked when founding member Upton, the band's drummer for their entire career, announced his retirement from the music industry. They enlisted drummer Robbie France, but replaced him with Ray Weston when it was determined that personal conflicts between France and Martin Turner could not be resolved. Strange Affair was released in May 1991.  Later in 1991, the band decided to continue without founding member Martin Turner, with the bassist/vocalist being replaced by returnee Andy Pyle, who had been in the band years earlier. The band toured throughout 1992/93, releasing the live album The Ash Live in Chicago. 1994 saw the second and final departure of Ted Turner. Following Turner's departure, Pyle and Weston also left the band.
Question: is there anything else interesting?
Answer: Later in 1991, the band decided to continue without founding member Martin Turner, with the bassist/vocalist being replaced by returnee Andy Pyle,

Question: Jennifer Maria Capriati (born March 29, 1976) is an American former professional tennis player. A member of the International Tennis Hall of Fame, she won three singles championships in Grand Slam tournaments, was the gold medalist at the 1992 Summer Olympics, reached the World No. 1 ranking, and is considered one of the greatest tennis players of all time. Capriati set a number of youngest-ever records at the start of her career. She made her professional debut in 1990 at the age of 13 years 11 months, reaching the final of the hard-court tournament in Boca Raton, Florida.

As a result of Lindsay Davenport's withdrawal from the Australian Open due to an injury, Capriati was the top seed. She defeated the sixth-seeded Amelie Mauresmo and the fourth-seeded Kim Clijsters en route to her second consecutive final there, where she once again faced Martina Hingis. The match was played in very hot conditions, with the temperature exceeding 35 degrees Celsius. Capriati fought back from 6-4, 4-0 down and four championship points to eventually prevail 4-6, 7-6(7), 6-2. This was Capriati's third and final Grand Slam title.  In the spring, Capriati reached finals in Scottsdale and Miami losing to Serena Williams on both occasions. Capriati prepared for her French Open title defense by participating in events in Charleston, Berlin, and Rome, losing in the semifinals of all three. As the top seed at the French Open, Capriati reached the semifinals--before losing to the eventual champion Serena Williams in three sets. Capriati surrendered her No. 1 ranking to Venus Williams as a result of this loss. Capriati's streak of six consecutive Grand Slam semifinals was broken at Wimbledon, where she lost to Amelie Mauresmo in three sets in the quarterfinals. She also lost to Mauresmo in the finals of the Canadian Open, and in the quarterfinals of the US Open after having served for the match.  Capriati won only one match in the three European indoor events she played. She rebounded at the year-ending championships, reaching the semifinals for the first time, losing to Serena Williams. Capriati finished the year ranked third.

Using a quote from the above article, answer the following question: did she have any injuries during thist ime?
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Answer:
Lindsay Davenport's withdrawal from the Australian Open due to an injury,