instruction:
In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.
question:
Passage: In June 1911, as part of the celebrations surrounding the coronation of King George V, Elgar was appointed to the Order of Merit, an honour limited to twenty-four holders at any time. The following year, the Elgars moved back to London, to a large house in Netherhall Gardens, Hampstead, designed by Norman Shaw. There Elgar composed his last two large-scale works of the pre-war era, the choral ode, The Music Makers (for the Birmingham Festival, 1912) and the symphonic study Falstaff (for the Leeds Festival, 1913). Both were received politely but without enthusiasm. Even the dedicatee of Falstaff, the conductor Landon Ronald, confessed privately that he could not "make head or tail of the piece," while the musical scholar Percy Scholes wrote of Falstaff that it was a "great work" but, "so far as public appreciation goes, a comparative failure."When World War I broke out, Elgar was horrified at the prospect of the carnage, but his patriotic feelings were nonetheless aroused. He composed "A Song for Soldiers", which he later withdrew. He signed up as a special constable in the local police and later joined the Hampstead Volunteer Reserve of the army. He composed patriotic works, Carillon, a recitation for speaker and orchestra in honour of Belgium, and Polonia, an orchestral piece in honour of Poland. Land of Hope and Glory, already popular, became still more so, and Elgar wished in vain to have new, less nationalistic, words sung to the tune.
By contrast, the remaining work, the Cello Concerto in E minor, had a disastrous premiere, at the opening concert of the London Symphony Orchestra's 1919–20 season in October 1919. Apart from the Elgar work, which the composer conducted, the rest of the programme was conducted by Albert Coates, who overran his rehearsal time at the expense of Elgar's. Lady Elgar wrote, "that brutal selfish ill-mannered bounder ... that brute Coates went on rehearsing." The critic of The Observer, Ernest Newman, wrote, "There have been rumours about during the week of inadequate rehearsal. Whatever the explanation, the sad fact remains that never, in all probability, has so great an orchestra made so lamentable an exhibition of itself. ... The work itself is lovely stuff, very simple – that pregnant simplicity that has come upon Elgar's music in the last couple of years – but with a profound wisdom and beauty underlying its simplicity." Elgar attached no blame to his soloist, Felix Salmond, who played for him again later, including at the inaugural concert of the City of Birmingham Orchestra (later City of Birmingham Symphony Orchestra), which Elgar conducted. In contrast with the First Symphony and its hundred performances in just over a year, the Cello Concerto did not have a second performance in London for more than a year.
answer:
What are the exact titles of the two separate works that were both received politely but without enthusiasm?


question:
Passage: Bloc Party confirmed a preliminary track list of 13 songs in August 2006; this included future bonus tracks "England" and "We Were Lovers". A low-quality rip of A Weekend in the City was leaked in November and showed a track list of 11 songs. Wichita Recordings did not comment, but the band members were quoted as being worried about a reduction in the potential impact of the album's content and sales. Bloc Party started a promotional tour of North America the same month with Panic! at the Disco, but cut it short after three concerts when Tong suffered a collapsed lung. The focus was changed to interviews throughout the world to explain the album's stylised lyrics and composition in the run-up to its release.Final tweaks on the album were completed in December 2006 in London. A high-quality version was leaked in January 2007 and its contents were confirmed by Okereke. Journalists who obtained an official copy of the album's final mix suggested that it featured electronically tampered rock soundscapes in the vein of Radiohead, New Order, and Björk. Bloc Party previewed A Weekend in the City in its entirety on 24 January 2007 at the Bournemouth Old Firestation, a performance which coincided with the Japanese release of the album. The first single, "The Prayer", was released on 29 January. The band performed at a special BBC Radio 1 showcase at Maida Vale Studios on 30 January as a precursor to a February promotional tour of the UK.The album was released in the rest of the world in the first week of February. The title comes as a tangent to the central theme of the album, "the living noise of a metropolis". The cover art is part of A Modern Project by German photographer Rut Blees Luxemburg, famous for her night cityscapes of London and for the cover art of The Streets' Original Pirate Material. The photograph is an aerial image of London's Westway, which shows the road and the adjacent sports pitches lit by the sodium glow of street lamps, and was chosen because the band believed "it was important we captured London breathing". Luxemburg has explained that "in this picture you can see how intricately and optimistically public space in the city is shared".
answer:
Whose members were quoted as being worried about a reduction in the potential impact of the album's content and sales?


question:
Passage: Twelve days later, Dylan made his first trip abroad. British TV director Philip Saville had heard Dylan perform in Greenwich Village, and invited him to take part in a BBC television drama: Madhouse on Castle Street. Dylan arrived in London on December 17. In the play, Dylan performed "Blowin' in the Wind" and two other songs. Dylan also immersed himself in the London folk scene, making contact with the Troubadour folk club organizer Anthea Joseph and folk singers Martin Carthy and Bob Davenport. "I ran into some people in England who really knew those [traditional English] songs," Dylan recalled in 1984. "Martin Carthy, another guy named [Bob] Davenport. Martin Carthy's incredible. I learned a lot of stuff from Martin."Carthy taught Dylan two English songs that would prove important for the Freewheelin' album. Carthy's arrangement of "Scarborough Fair" would be used by Dylan as the basis of his own composition, "Girl from the North Country". A 19th-century ballad commemorating the death of Sir John Franklin in 1847, "Lady Franklin's Lament", gave Dylan the melody for his composition "Bob Dylan's Dream". Both songs displayed Dylan's fast-growing ability to take traditional melodies and use them as a basis for highly personal songwriting.From England, Dylan traveled to Italy, and joined Albert Grossman, who was touring with his client Odetta. Dylan was also hoping to make contact with his girlfriend, Suze Rotolo, unaware that she had already left Italy and was on her way back to New York. Dylan worked on his new material, and when he returned to London, Martin Carthy received a surprise: "When he came back from Italy, he'd written 'Girl From the North Country'; he came down to the Troubadour and said, 'Hey, here's "Scarborough Fair"' and he started playing this thing.".
answer:

What is the name of the person that had a part on Madhouse on Castle Street?