instruction:
In this task, you're expected to write answers to questions involving multiple references to the same entity. The answer to the question should be unambiguous and a phrase in the paragraph. Most questions can have only one correct answer.
question:
Passage: During Leopold's illness performances were impossible, so Wolfgang turned to composition. According to the writer and musician Jane Glover, Wolfgang was inspired to write symphonies after meeting Johann Christian Bach. It is not clear when this meeting occurred, or when Wolfgang first heard J. C. Bach's symphonies, although he had played the older composer's harpsichord works in his May 1764 royal recital. Wolfgang soon completed his Symphony No. 1 in E flat, K. 16, and started his No. 4 in D major, K. 19 (which Zaslaw concludes was more likely composed, or at least completed, in The Hague). The D major symphony has, in Hildesheimer's words, "an originality of melody and modulation which goes beyond the routine methods of his [grown-up] contemporaries". These are Wolfgang's first orchestral writings, although Zaslaw hypothesises a theoretical "Symphony No. 0" from sketches in Wolfgang's musical notebook. Three lost symphonies, identified in the Köchel catalogue of Mozart's works only by their incipits (first few bars of music), may also have originated from the London period. Other works composed by Wolfgang in London include several instrumental sonatas, the jewel of which, according to Hildesheimer, is the C major sonata for piano, four hands, K. 19d. A set of violin sonatas, with extra flute and cello parts, was dedicated to Queen Charlotte at her request, and presented to her with an appropriate inscription in January 1765. Wolfgang also wrote his first vocal works, the motet "God is our Refuge", K. 20, and the tenor aria Va, dal furor portata, K. 21. 
Question: What was the last name of the older composer who Wolfgang played their harpsichord works in his May 1764 royal recital?
answer:
Bach.


question:
Passage: Jane Stanford has been described as having a "Victorian aversion to blank space" and so created a church that is "a dimly lit cavern of glowing mosaic surfaces ... and vibrant, stained-glass windows". The church is richly decorated throughout, its architectural features carved with formalized foliate ornament, and the walls adorned with mosaics in the Byzantine manner.  Even though the church was dedicated in 1903, interior decoration took another two years to complete, with the installation of the mosaics and the carving of the extensive quotations on the walls occurring simultaneously.  There are 29 large carvings of quatrefoils that contain ancient religious symbols in the walls of church's west and east transepts.  The stained-glass windows were crafted by J. and R. Lamb of New York.  Its exposed-timber ceilings are modeled after Boston's Trinity Church.The church is entered through three bronze doors adorned with angels, a recurring motif throughout the church. The doors open up into a narthex or vestibule decorated with mosaics on the walls, illuminated by the many colors of the stained glass windows, and stone carvings on the architectural details. There is a variety of styles and motifs reflecting the hands of different craftsmen.  The mosaic that adorns the floor depicts the Lamb of God surrounded by the symbols of the four gospel writers: St. Matthew (the winged angel), St. Mark (the winged lion), St. Luke (the ox), and St. John (the eagle).  Some of these symbols also appear in other areas of the church.  A Celtic cross adorns the stained glass above the central wooden door that leads into the nave, and Latin epigraphs have been engraved above the two side doors.Above the narthex is an organ gallery. The nave is arcaded and has a single aisle on each side with clerestory windows above. Its walls, from the floor to the top of the clerestory, are decorated with 15 murals made of mosaics on each side, and depicts scenes from the Old Testament.  The exposed timber ceiling was inspired by Trinity Church and is constructed with tied hammer beams, which can be seen radiating in the chancel.  The floor of the church slopes downward towards the crossing.  The chancel and transepts are three semi-circular apses. They are separated from the broad central space by large semi-circular arches on stout columns with carved capitals. The transept apses each have a balcony with a concave balustrade. 
Question: What is the name of the building that inspired the ceiling of the church designed by the person who was described as having a "Victorian aversion to blank space"?
answer:
Trinity Church.


question:
Passage: Bizet's first opera, the one-act Le docteur Miracle, was written in 1856 when the 18-year-old composer was a student at the Conservatoire de Paris. It was Bizet's winning entry in a competition organised by the celebrated composer Jacques Offenbach, and gained him a cash award, a gold medal, and a performance of the prize work at the Théâtre des Bouffes-Parisiens. In 1857 Bizet was awarded the prestigious Prix de Rome, and as a result spent most of the following three years in Italy, where he wrote Don Procopio, a short opera buffa in the style of Donizetti. By this time Bizet had written several non-stage works, including his Symphony in C, but the poor reception accorded to his 1858 Te Deum, a religious work he composed in Rome, helped convince him that his future lay primarily with the musical theatre. He planned and possibly began several operatic works before his return to Paris in 1860, but none of these projects came to fruition.In Paris, Bizet discovered the difficulties faced by young and relatively unknown composers trying to get their operas performed. Of the capital's two state-subsidised opera houses, the Opéra and the Opéra-Comique, the former offered a static repertoire in which works by foreign composers, particularly Rossini and Meyerbeer, were dominant. Even established French composers such as Gounod had difficulty getting works performed there. At the Opéra-Comique, innovation was equally rare; although more French works were performed, the style and character of most productions had hardly changed since the 1830s. However, one condition of the Opéra-Comique's state funding was that from time to time it should produce one-act works by former Prix de Rome laureates. Under this provision, Bizet wrote La guzla de l'Emir, with a libretto by Jules Barbier and Michel Carré, and this went into rehearsal early in 1862.In April 1862, as the La guzla rehearsals proceeded, Bizet was approached by Léon Carvalho, manager of the independent Théâtre Lyrique company. Carvalho had been offered an annual grant of 100,000 francs by the retiring Minister of Fine Arts, Count Walewski, on condition that each year he stage a new three-act opera from a recent Prix de Rome winner. Carvalho had a high opinion of Bizet's abilities, and offered him the libretto of Les pêcheurs de perles, an exotic story by Carré and Eugène Cormon set on the island of Ceylon (now Sri Lanka). Sensing the opportunity for a genuine theatrical success, Bizet accepted the commission. Because Walewski restricted his grant to composers who had not had any previous work performed commercially, Bizet hurriedly withdrew La guzla from the Opéra-Comique; it has never been performed, and the music has disappeared. 
Question: What is the full name name of the work by Bizet that has never been performed, and for which the music has disappeared?
answer:

La guzla de l'Emir.