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.

Passage: Burges's two finest gothic churches were also undertaken in the 1870s, the Church of Christ the Consoler, Skelton-on-Ure, and St Mary's, Studley Royal. His patron, George Robinson, 1st Marquess of Ripon, although not as rich as Bute, was his equal in romantic medievalism and had been a friend of Bute's at Oxford, which may account for the choice of Burges as architect. Both churches were built as memorial churches for Ripon's brother-in-law, Frederick Grantham Vyner, who was murdered by Greek bandits in 1870. Vyner's mother commissioned the Church of Christ the Consoler and his sister St Mary's. Both begun in 1870, Skelton was consecrated in 1876 and Studley Royal in 1878.The Church of Christ the Consoler, in the grounds of Newby Hall in North Yorkshire, is built in the Early English style. The exterior is constructed of grey Catraig stone, with Morcar stone for the mouldings. The interior is faced with white limestone, and richly fitted out with marble. The work was undertaken by members of Burges's usual team, Gualbert Saunders making the stained glass, from cartoons by Lonsdale, and Nicholls sculpting the carvings. Leach and Pevsner describe the scheme of stained glass as "uncommonly excellent." It is particularly interesting as representing an architectural move from Burges's favourite Early French style to an English inspiration. Pevsner considers it: "Of determined originality; the impression is one of great opulence, even if of a somewhat elephantine calibre."
The Church of St Mary, Studley Royal, is also in the Early English style and is located in the grounds of Studley Royal Park at Fountains Abbey, in North Yorkshire. As at Christ the Consoler, the exterior is of grey limestone, with a two-stage west tower topped with a soaring spire. The interior is equally spectacular, exceeding Skelton in richness and majesty, Leach commenting that "everything is precisely calculated as to its visual impact." The theme, previously used at Gayhurst, is Paradise Lost and Paradise Regained. The stained glass, by Saunders & Co, is of particularly high quality. Pevsner describes St Mary's as "a dream of Early English glory" and Crook writes, "[although] Cork Cathedral may stand as Burges's greatest Gothic work, Studley Royal is his 'ecclesiastical' masterpiece." Burges also constructed an estate cottage in 1873.In 1870, Burges was asked to draw up an iconographic scheme of internal decoration for St Paul's Cathedral, unfinished since the death of Sir Christopher Wren. In 1872, he was appointed architect and over the next five years produced what Crook describes as a "full-blown scheme of early Renaissance decoration" for the interior which he intended would eclipse that of St Peter's in Rome. However, as Crook writes, his plans were "rather too creative for most Classicists" and these artistic, and linked religious, controversies led to Burges's dismissal in 1877 with none of his plans undertaken.
Whose patron was George Robinson?

Passage: Despite a political climate that was unfavorable to modern art (often denounced as "formalist" by the communist authorities), post-war Polish composers enjoyed an unprecedented degree of compositional freedom following the establishment of the Warsaw Autumn festival in 1956. Górecki had won recognition among avant-garde composers for the experimental, dissonant and serialist works of his early career; he became visible on the international scene through such modernist works as Scontri, which was a success at the 1960 Warsaw Autumn, and his First Symphony, which was awarded a prize at the 1961 Paris Youth Bienniale. Throughout the 1960s, he continued to form acquaintanceships with other experimental and serialist composers such as Pierre Boulez and Karlheinz Stockhausen.
During the 1970s, Górecki began to distance himself from the serialism and extreme dissonance of his earlier work, and his Third Symphony, like the preceding choral pieces Euntes ibant et flebant (Op. 32, 1972) and Amen (Op. 35, 1975), starkly rejects such techniques. The lack of harmonic variation in Górecki's Third Symphony, and its reliance on repetition, marked a stage in Górecki's progression towards the harmonic minimalism and the simplified textures of his more recent work. Because of the religious nature of many of his works during this period, critics and musicologists often align him with other modernist composers who began to explore radically simplified musical textures, tonality, and melody, and who also infused many of their works with religious significance. Like-minded composers, such as Arvo Pärt and John Tavener, are frequently grouped with Górecki under the term "holy minimalism," although none of the composers classified as such has admitted to common influences.
What is the last name of the person who continued to form acquaintanceships with other experimental and serialist composers ?

Passage: The eastern area of the park, where the first developments took place at the end of the 19th century, was then under the local government control of Stretford Urban District; the west was controlled by the urban district of Barton-upon-Irwell. Tensions soon began to emerge between the Estates Company and Stretford Council over the provision of local services and infrastructure. In 1902, W. T. Glover & Co, a cable manufacturing company that had moved to the park from nearby Salford, built a power station next to their works to supply electricity to the rest of the park; the Estates Company had previously approached Manchester Corporation, but Stretford would not allow another local authority to supply electricity within its area.In 1901 Manchester Corporation formally proposed a merger with Stretford UDC, on the basis that Stretford's growth was due in large part to Trafford Park, the growth of which in turn was largely due to the Manchester Ship Canal. Manchester Corporation had provided one-third of the capital needed to build the ship canal, for which it had doubled its municipal debt, despite having also increased rates by 26 per cent between 1892 and 1895. Stretford and Lancashire County Council opposed the merger, which was rejected following a government inquiry. In 1969 Pevsner wrote: "That [neighbouring] Stretford and Salford are not administratively one with Manchester is one of the most curious anomalies of England."The tensions between Stretford and the Estates Company began to come to a head in 1906, when in response to complaints in the press about the state of one particular road in the park, Trafford Park Road, Stretford issued formal notices demanding that all premises with frontage onto the road pay for its improvement. Further disputes over the standard of roads in the park followed until, in 1907, the Estates Company presented a petition to Lancashire County Council demanding that Trafford Park should be an urban district in its own right, independent of Stretford. The county council dismissed the petition, but later that year, following a petition organised by the Trafford Park Ratepayers Association, a new local government ward, Park Ward, was created within Stretford, The new ward did not include the western part of the park however, which remained under the control of Barton-upon-Irwell.As a consequence of the Local Government Act 1972, the borough of Stretford was abolished and Trafford Park has, since 1 April 1974, formed part of the Metropolitan Borough of Trafford. As of 2010, the park is in the Trafford ward of Gorse Hill.

What is the name of the park in whose eastern area at the end of the 19th century was under the local government control of Stretford Urban District?