The "standard complement" of double winds and brass in the orchestra from the first half of the 19th century is generally attributed to Beethoven. The exceptions to this are his Symphony No. 4, Violin Concerto, and Piano Concerto No. 4, which each specify a single flute. The composer's instrumentation usually included paired flutes, oboes, clarinets, bassoons, horns and trumpets. Beethoven carefully calculated the expansion of this particular timbral "palette" in Symphonies 3, 5, 6, and 9 for an innovative effect. The third horn in the "Eroica" Symphony arrives to provide not only some harmonic flexibility, but also the effect of "choral" brass in the Trio. Piccolo, contrabassoon, and trombones add to the triumphal finale of his Symphony No. 5. A piccolo and a pair of trombones help deliver "storm" and "sunshine" in the Sixth. The Ninth asks for a second pair of horns, for reasons similar to the "Eroica" (four horns has since become standard); Beethoven's use of piccolo, contrabassoon, trombones, and untuned percussion—plus chorus and vocal soloists—in his finale, are his earliest suggestion that the timbral boundaries of symphony should be expanded. For several decades after he died, symphonic instrumentation was faithful to Beethoven's well-established model, with few exceptions.
If it is possible to answer this question, answer it for me (else, reply "unanswerable"): To whom is the "standard complement" attributed to?
Ah, so.. Beethoven

In September 1828 Chopin, while still a student, visited Berlin with a family friend, zoologist Feliks Jarocki, enjoying operas directed by Gaspare Spontini and attending concerts by Carl Friedrich Zelter, Felix Mendelssohn and other celebrities. On an 1829 return trip to Berlin, he was a guest of Prince Antoni Radziwiłł, governor of the Grand Duchy of Posen—himself an accomplished composer and aspiring cellist. For the prince and his pianist daughter Wanda, he composed his Introduction and Polonaise brillante in C major for cello and piano, Op. 3.
If it is possible to answer this question, answer it for me (else, reply "unanswerable"): Which opera director did Frédéric see works of during his stay in Berlin?
Ah, so.. Gaspare Spontini

Philadelphia has more public art than any other American city. In 1872, the Association for Public Art (formerly the Fairmount Park Art Association) was created, the first private association in the United States dedicated to integrating public art and urban planning. In 1959, lobbying by the Artists Equity Association helped create the Percent for Art ordinance, the first for a U.S. city. The program, which has funded more than 200 pieces of public art, is administered by the Philadelphia Office of Arts and Culture, the city's art agency.
If it is possible to answer this question, answer it for me (else, reply "unanswerable"): How many pieces of art were funded by the Percent for Art ordinance?
Ah, so..
more than 200