Question:
Philip Henry Sheridan (March 6, 1831 - August 5, 1888) was a career United States Army officer and a Union general in the American Civil War. His career was noted for his rapid rise to major general and his close association with General-in-chief Ulysses S. Grant, who transferred Sheridan from command of an infantry division in the Western Theater to lead the Cavalry Corps of the Army of the Potomac in the East. In 1864, he defeated Confederate forces in the Shenandoah Valley and his destruction of the economic infrastructure of the Valley, called "The Burning" by residents, was one of the first uses of scorched earth tactics in the war. In 1865, his cavalry pursued Gen. Robert E. Lee and was instrumental in forcing his surrender at Appomattox.
Sheridan was promoted to lieutenant general on March 4, 1869. In 1870, President Grant, at Sheridan's request, sent him to observe and report on the Franco-Prussian War. As a guest of the King of Prussia, he was present when Napoleon III surrendered to the Germans, which was gratifying to Sheridan following his experiences with the French in Mexico. He later toured most of Europe and returned to the U.S. to report to Grant that although the Prussians were "very good brave fellows [who] had gone into each battle with the determination to win, ... there is nothing to be learned here professionally." He criticized their handling of cavalry and likened their practices to the manner in which Meade had attempted to supervise him. However he referred to theirs as a "perfect military system" and had a high opinion of the officer corps. His words on the French were much more harsh; he criticized the French army for not taking numerous opportunities to halt the German advance, for advancing slow and clumsily themselves, for not taking any of the numerous good opportunities to cut the enemy's unguarded lines of communication, and for routing frequently. He remarked: "I am disgusted; all my boyhood's fancies of the soldiers of the great Napoleon have been dissipated, or else the soldiers of the "Little Corporal" have lost their elan in the pampered parade soldiers of the 'Man of Destiny'."  In 1871, Sheridan was present in Chicago during the Great Chicago Fire and coordinated military relief efforts. The mayor, Roswell B. Mason, to calm the panic, placed the city under martial law, and issued a proclamation putting Sheridan in charge. As there were no widespread disturbances, martial law was lifted within a few days. Although Sheridan's personal residence was spared, all of his professional and personal papers were destroyed. When Chicago's Washington Park Race Track organized the American Derby in 1883 he served as its first president.  Sheridan served as commander in chief of the Military Order of the Loyal Legion of the United States (MOLLUS) veterans' organization from 1886 to 1888. He was also the first president of the Society of the Army of the Potomac when it was founded in 1869.  On November 1, 1883, Sheridan succeeded General William T. Sherman as Commanding General of the U.S. Army, and held that position until his death. He was promoted on June 1, 1888, shortly before his death, to the rank of General in the Regular Army (the rank was titled "General of the Army of the United States", by Act of Congress June 1, 1888, the same rank held earlier by Grant and Sherman, which is equivalent to a five-star general, O-11, in the modern U.S. Army).
Answer this question using a quote from the text above:

what did he do after becoming general

Answer:



Question:
Sir Edward William Elgar, 1st Baronet  (2 June 1857 - 23 February 1934) was an English composer, many of whose works have entered the British and international classical concert repertoire. Among his best-known compositions are orchestral works including the Enigma Variations, the Pomp and Circumstance Marches, concertos for violin and cello, and two symphonies. He also composed choral works, including The Dream of Gerontius, chamber music and songs. He was appointed Master of the King's Musick in 1924.
Elgar was contemptuous of folk music and had little interest in or respect for the early English composers, calling William Byrd and his contemporaries "museum pieces". Of later English composers, he regarded Purcell as the greatest, and he said that he had learned much of his own technique from studying Hubert Parry's writings. The continental composers who most influenced Elgar were Handel, Dvorak and, to some degree, Brahms. In Elgar's chromaticism, the influence of Wagner is apparent, but Elgar's individual style of orchestration owes much to the clarity of nineteenth-century French composers, Berlioz, Massenet, Saint-Saens and, particularly, Delibes, whose music Elgar played and conducted at Worcester and greatly admired.  Elgar began composing when still a child, and all his life he drew on his early sketchbooks for themes and inspiration. The habit of assembling his compositions, even large-scale ones, from scraps of themes jotted down randomly remained throughout his life. His early adult works included violin and piano pieces, music for the wind quintet in which he and his brother played between 1878 and 1881, and music of many types for the Powick Asylum band. Diana McVeagh in Grove's Dictionary finds many embryonic Elgarian touches in these pieces, but few of them are regularly played, except Salut d'Amour and (as arranged decades later into The Wand of Youth Suites) some of the childhood sketches. Elgar's sole work of note during his first spell in London in 1889-91, the overture Froissart, was a romantic-bravura piece, influenced by Mendelssohn and Wagner, but also showing further Elgarian characteristics. Orchestral works composed during the subsequent years in Worcestershire include the Serenade for Strings and Three Bavarian Dances. In this period and later, Elgar wrote songs and partsongs. W. H. Reed expressed reservations about these pieces, but praised the partsong The Snow, for female voices, and Sea Pictures, a cycle of five songs for contralto and orchestra which remains in the repertory.  Elgar's principal large-scale early works were for chorus and orchestra for the Three Choirs and other festivals. These were The Black Knight, King Olaf, The Light of Life, The Banner of St George and Caractacus. He also wrote a Te Deum and Benedictus for the Hereford Festival. Of these, McVeagh comments favourably on his lavish orchestration and innovative use of leitmotifs, but less favourably on the qualities of his chosen texts and the patchiness of his inspiration. McVeagh makes the point that, because these works of the 1890s were for many years little known (and performances remain rare), the mastery of his first great success, the Enigma Variations, appeared to be a sudden transformation from mediocrity to genius, but in fact his orchestral skills had been building up throughout the decade.
Answer this question using a quote from the text above:

Are there any other interesting aspects about this article?

Answer:
Elgar's principal large-scale early works were for chorus and orchestra for the Three Choirs and other festivals.