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.

Example Input: Passage: Between 9:00 pm and 10:00 pm the guards enacted a strategy whereby the police officers, backed by the bayonets of the soldiers, advanced to the crowd and arrested each a man, who was then taken into the station, disarmed, and held there. The strategy was largely successful, and by 11:00 pm the area around the station was mostly cleared, though sporadic gunfire could be heard throughout the night. Between 165 and 200 were detained in total, and the most violent of the captives were removed and taken to the police station. The news reported that four, including one police officer, were injured in the exchange, and several who resisted arrest were beaten severely.At the foundry near the Carey Street Bridge, a crowd of more than 100 gathered and threatened to set fire to the area. A contingent of the 5th under Captain Lipscomb arrived, and a volley fired over the heads of the crowd was sufficient to dissuade the crowd. An unsuccessful attempt was also made to burn a B&O transportation barge at Fell's Point. The news reported that 16 were arrested in a confrontation between citizens and the police at Lee and Eutaw, and that during the night, three separate attempts were made to set fire the 6th Regiment armory, but all were frustrated by the remaining garrison there.Just before midnight, 120–135 marines arrived at the station and reported to the governor, who ordered them to set about capturing the leaders of the mob. Governor Carroll telegraphed and advised President Hayes that order had been restored in the city.
Between 2:00 am and 3:00 am on Sunday morning, July 22, the peace was again broken and fire alarms began to ring throughout the city. To the west, at the Mount Clare Shops of the B&O, a 37-car train of coal and oil had been set on fire. Police, firefighters, and thousands of citizens flocked to the scene. A contingent of 50 marines was dispatched to the area to provide assistance. The cars which had not yet caught fire were detached from those burning, and by the time the flames were extinguished between seven and nine cars had been burned. Between $11,000 and $12,000 in damage was sustained.At 4:00 am another alarm sounded: the planing mills and lumber yard of J. Turner & Cate near the Philadelphia Wilmington & Baltimore rail depot, had been set on fire. The entire property, extending over a full city block, was destroyed. Realizing the severity of the situation, the firefighters concentrated their efforts on trying to save the surrounding structures.According to news reports, the first passenger trains left the city at 9:00 am, and continued running throughout the day. Around 10:00 am, General W. S. Hancock arrived and was followed by 360–400 federal troops from New York and Fort Monroe, who relieved those guarding Camden Station. They brought with them two 12 pounder artillery pieces. From that point on, the men of the 5th and the federal troops took turns guarding the station. 
Question: At what time was the lumber yard of J. Turner & Cate set on fire on the day where a car train of coal was set on fire?
Example Output: 4:00 am.

Example Input: Passage: Ferrier gave her first London recital on 28 December 1942 at the National Gallery, in a lunch-time concert organised by Dame Myra Hess. Although she wrote "went off very well" in her diary, Ferrier was disappointed with her performance, and concluded that she needed further voice training. She approached the distinguished baritone Roy Henderson with whom, a week previously, she had sung in Mendelssohn's Elijah. Henderson agreed to teach her, and was her regular voice coach for the remainder of her life. He later explained that her "warm and spacious tone" was in part due to the size of the cavity at the back of her throat: "one could have shot a fair-sized apple right to the back of the throat without obstruction". However, this natural physical advantage was not in itself enough to ensure the quality of her voice; this was due, Henderson says, to "her hard work, artistry, sincerity, personality and above all her character".
Ferrier's performances in the Glyndebourne run, which began on 12 July 1946, earned her favourable reviews, although the opera itself was less well received. On the provincial tour which followed the festival it failed to attract the public and incurred heavy financial losses.
By contrast, when the opera reached Amsterdam it was greeted warmly by the Dutch audiences who showed particular enthusiasm for Ferrier's performance. This was Ferrier's first trip abroad, and she wrote an excited letter to her family: "The cleanest houses and windows you ever did see, and flowers in the fields all the way!" Following her success as Lucretia she agreed to return to Glyndebourne in 1947, to sing Orfeo in Gluck's opera Orfeo ed Euridice. She had often sung Orfeo's aria Che farò ("What is life") as a concert piece, and had recently recorded it with Decca. At Glyndebourne, Ferrier's limited acting abilities caused some difficulties in her relationship with the conductor, Fritz Stiedry; nevertheless her performance on the first night, 19 June 1947, attracted warm critical praise.Ferrier's association with Glyndebourne bore further fruit when Rudolf Bing, the festival's general manager, recommended her to Bruno Walter as the contralto soloist in a performance of Mahler's symphonic song cycle Das Lied von der Erde. This was planned for the 1947 Edinburgh International Festival. Walter was initially wary of working with a relatively new singer, but after her audition his fears were allayed; "I recognised with delight that here potentially was one of the greatest singers of our time", he later wrote. Das Lied von der Erde was at that time largely unknown in Britain, and some critics found it unappealing; nevertheless, the Edinburgh Evening News thought it "simply superb". In a later biographical sketch of Ferrier, Lord Harewood described the partnership between Walter and her, which endured until the singer's final illness, as "a rare match of music, voice and temperament.". 
Question: What is the last name of the person who sang with Roy in Mendelssohn's Elijah?
Example Output: Ferrier.

Example Input: Passage: Tchaikovsky struggled with sonata form. Its principle of organic growth through the interplay of musical themes was alien to Russian practice. The traditional argument that Tchaikovsky seemed unable to develop themes in this manner fails to consider this point; it also discounts the possibility that Tchaikovsky might have intended the development passages in his large-scale works to act as "enforced hiatuses" to build tension, rather than grow organically as smoothly progressive musical arguments.According to Brown and musicologists Hans Keller and Daniel Zhitomirsky, Tchaikovsky found his solution to large-scale structure while composing the Fourth Symphony. He essentially sidestepped thematic interaction and kept sonata form only as an "outline," as Zhitomirsky phrases it. Within this outline, the focus centered on periodic alternation and juxtaposition. Tchaikovsky placed blocks of dissimilar tonal and thematic material alongside one another, with what Keller calls "new and violent contrasts" between musical themes, keys, and harmonies. This process, according to Brown and Keller, builds momentum and adds intense drama. While the result, Warrack charges, is still "an ingenious episodic treatment of two tunes rather than a symphonic development of them" in the Germanic sense, Brown counters that it took the listener of the period "through a succession of often highly charged sections which added up to a radically new kind of symphonic experience" (italics Brown), one that functioned not on the basis of summation, as Austro-German symphonies did, but on one of accumulation.Partly due to the melodic and structural intricacies involved in this accumulation and partly due to the composer's nature, Tchaikovsky's music became intensely expressive. This intensity was entirely new to Russian music and prompted some Russians to place Tchaikovsky's name alongside that of Dostoyevsky. German musicologist Hermann Kretzschmar credits Tchaikovsky in his later symphonies with offering "full images of life, developed freely, sometimes even dramatically, around psychological contrasts ... This music has the mark of the truly lived and felt experience". Botstein, in elaborating on this comment, suggests that listening to Tchaikovsky's music "became a psychological mirror connected to everyday experience, one that reflected on the dynamic nature of the listener’s own emotional self". This active engagement with the music "opened for the listener a vista of emotional and psychological tension and an extremity of feeling that possessed relevance because it seemed reminiscent of one’s own 'truly lived and felt experience' or one’s search for intensity in a deeply personal sense". 
Question: What is the first name of the person who said Tchaikovsky kept sonata form only as an "outline?"?
Example Output:
Daniel.