Problem: The War of the Limburg Succession, was a series of conflicts between 1283 and 1289 for the succession in the Duchy of Limburg. The cause of the War of the Limburg Succession was the death of Waleran IV, Duke of Limburg in 1280, and his only daughter Ermengarde of Limburg in 1283. Waleran IV had no sons and Ermengarde had no children. Ermergarde had married Reginald I of Guelders, who now claimed the Duchy of Limburg. However, Waleran's nephew Adolf VIII of Berg, son of his elder brother Adolf VII of Berg, also claimed the Duchy. Unable to assert his claims, he sold them in 1283 to the mighty John I, Duke of Brabant. Between 1283 and 1288, several smaller confrontations occurred between both sides, none of them decisive. Meanwhile, most of the other local powers chose sides. Siegfried II of Westerburg, the Archishop of Cologne and ruler of the Electorate of Cologne, traditional enemy of the Duke of Brabant, forged an alliance with Reginald I, joined by Henry VI, Count of Luxembourg, and his brother Waleran I of Luxembourg, Lord of Ligny, as well as by Adolf, King of Germany. On the other side the Counts of Mark took the chance to affirm their independence from the Archbishop of Cologne and together with the Counts of Loon, Tecklenburg, and Waldeck allied with Brabant and Berg. The citizens of the City of Cologne, eager to emancipate themselves from the Archbishop's rule, also joined this alliance. After the decisive Battle of Worringen in 1288, won by Duke John I of Brabant and his allies, the Duchy of Limburg came in the possession of the Duke of Brabant. The City of Cologne gained its independence from the Archbishopric and finally the status of an Imperial city in 1475.

How many grandchildren did Waleran IV have?
Answer: 0

Problem: In the county, the age distribution of the population shows 27.90% under the age of 18, 6.80% from 18 to 24, 31.60% from 25 to 44, 23.70% from 45 to 64, and 10.10% who were 65 years of age or older. The median age was 36 years. For every 100 females there were 96.00 males. For every 100 females age 18 and over, there were 92.50 males.

Which age group had the second most people?
Answer: under the age of 18

Problem: In the city, the year 2010 population was spread out with 26.3% under the age of 18, 13.6% from 18 to 24, 30.7% from 25 to 44, 21.1% from 45 to 64, and 7.2% who were 65 years of age or older. The median age was 32 years. For every 100 females, there were 92.5 males. For every 100 females age 18 and over, there were 88.4 males.

Which age group had the third most people?
Answer: 45 to 64

Problem: Beginning from the early 1920s composers of both contemporary and popular music wrote for the musical saw. Probably the first was Dmitri Shostakovich.  He included the musical saw, e.g., in the film music for The New Babylon (1929), in The Nose (opera) (1928), and in Lady Macbeth of the Mtsensk District (opera) (1934). Shostakovich and other composers of his time used the term "Flexaton" to mark the musical saw. "Flexaton" just means "to flex a tone"—the saw is flexed to change the pitch. Unfortunately, there exists another instrument called Flexatone, so there has been confusion for a long time. Aram Khachaturian, who knew Shostakovichs music included the musical saw in his Piano Concerto (Khachaturian) (1936) in the second movement. Another composer was the Swiss Arthur Honegger, who included the saw in his opera Antigone (Honegger) in 1924 . The Romanian composer George Enescu used the musical saw at the end of the second act of his opera Œdipe (opera) (1931) to show in an extensive glissando—which begins with the mezzo-soprano and is continued by the saw—the death and ascension of the sphinx killed by Oedipus. The Italian composer Giacinto Scelsi wrote a part for the saw in his quarter-tone piece Quattro pezzi per orchestra (1959). German composer Hans Werner Henze took the saw to characterize the mean hero of his tragical opera Elegy for young lovers (1961). Other composers were Krysztof Penderecki with Fluorescences (1961), De natura sonoris Nr. 2 (1971) and the opera Ubu Rex (1990), Bernd Alois Zimmermann with Stille und Umkehr (1970), George Crumb with Ancient voices of children (1970), John Corigliano with The Mannheim Rocket (2001). Chaya Czernowin used the saw in her opera "PNIMA...Ins Innere" (2000) to represent the character of the grandfather, who is traumatized by the Holocaust. There are Further Leif Segerstam, Hans Zender (orchestration of "5 préludes" by Claude Debussy), Franz Schreker (opera Christophorus) and Oscar Strasnoy (opera Le bal). Russian composer Lera Auerbach wrote for the saw in her ballet The Little Mermaid (2005), in her symphonic poem Dreams and Whispers of Poseidon (2005), in her oratorio "Requiem Dresden – Ode to Peace" (2012), in her Piano Concerto No.1 (2015), in her comic oratorio The Infant Minstrel and His Peculiar Menagerie (2016) and in her violin concerto Nr.4 "NyX – Fractured dreams" (2017).

What was the last year that the saw was used in something?
Answer: