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.

Q: Passage: On a beautiful morning in 1923, Clarissa Dalloway sets out from her large house in Westminster to choose the flowers for a party she is holding that evening. Her teenage daughter Elizabeth is unsympathetic, preferring the company of the evangelical Miss Kilman. A passionate old suitor, Peter Walsh, turns up and does not disguise the mess he has made of his career and his love life. For Clarissa this confirms her choice in preferring the unexciting but affectionate and dependable Richard Dalloway. At her party Sally turns up, who was her closest friend, so close they kissed on the lips, but is now wife of a self-made millionnaire and mother of five.
Intercut with Clarissa's present and past is the story of another couple. Septimus was a decorated officer in the First World War but is now collapsing under the strain of delayed shell-shock, in which he is paralysed by horrific flashbacks and consumed with guilt over the death of his closest comrade. His wife Rezia tries to get him psychiatric help but the doctors she consults are little use: when one commits him to a mental hospital, he jumps from a window to his death. The doctor turns up late at Clarissa's party, apologising because he had to attend to a patient's suicide. Clarissa stands by a window and ponders what it would mean to jump.

A: What is the full name of the suitor that Clarissa prefers?
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Q: Passage: The Early Netherlandish masters' influence reached artists such as Stefan Lochner and the painter known as the Master of the Life of the Virgin, both of whom, working in mid-15th-century Cologne, drew inspiration from imported works by van der Weyden and Bouts. New and distinctive painterly cultures sprang up; Ulm, Nuremberg, Vienna and Munich were the most important artistic centres in the Holy Roman Empire at the start of the 16th century. There was a rise in demand for printmaking (using woodcuts or copperplate engraving) and other innovations borrowed from France and southern Italy. Some 16th-century painters borrowed heavily from the previous century's techniques and styles. Even progressive artists such as Jan Gossaert made copies, such as his reworking of van Eyck's Madonna in the Church. Gerard David linked the styles of Bruges and Antwerp, often travelling between the cities. He moved to Antwerp in 1505, when Quentin Matsys was the head of the local painters' guild, and the two became friends.By the 16th century the iconographic innovations and painterly techniques developed by van Eyck had become standard throughout northern Europe. Albrecht Dürer emulated van Eyck's precision. Painters enjoyed a new level of respect and status; patrons no longer simply commissioned works but courted the artists, sponsoring their travel and exposing them to new and wide-ranging influences. Hieronymus Bosch, active in the late 15th and early 16th centuries, remains one of the most important and popular of the Netherlandish painters. He was anomalous in that he largely forewent realistic depictions of nature, human existence and perspective, while his work is almost entirely free of Italian influences. His better-known works are instead characterised by fantastical elements that tend towards the hallucinatory, drawing to some extent from the vision of hell in van Eyck's Crucifixion and Last Judgement diptych. Bosch followed his own muse, tending instead towards moralism and pessimism. His paintings, especially the triptychs, are among the most significant and accomplished of the late Netherlandish period
The Reformation brought changes in outlook and artistic expression as secular and landscape imagery overtook biblical scenes. Sacred imagery was shown in a didactic and moralistic manner, with religious figures becoming marginalized and relegated to the background. Pieter Bruegel the Elder, one of the few who followed Bosch's style, is an important bridge between the Early Netherlandish artists and their successors. His work retains many 15th-century conventions, but his perspective and subjects are distinctly modern. Sweeping landscapes came to the fore in paintings that were provisionally religious or mythological, and his genre scenes were complex, with overtones of religious skepticism and even hints of nationalism.

A: What is the full name of the Netherlandish painter who was anomalous in that he largely forewent realistic depictions of nature, human existence and perspective?
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Q: Passage: With the outbreak of World War I on 28 July 1914, The Oceanides languished. Wartime politics being what they were, Sibelius's music was seldom played outside the Nordic countries and the United States: in Germany, there was little demand for the music of an "enemy national", while in Russia, Finns were viewed as being "less than loyal subjects of the Tsar". In any case, many of Sibelius's works had been printed by German publishing houses, a detail that harmed Sibelius's reputation not only in Russia, but also Britain and the United States. According to Tawaststjerna, the war plunged Sibelius into a state of melancholy and creative struggle (the Fifth and Sixth symphonies were in the process of simultaneous gestation at this time). His response was to retreat into near solitude: he abstained from attending and giving concerts and neglected his circle of friends, and he imagined himself "forgotten and ignored, a lonely beacon of light in a deepening winter darkness".Sibelius was not easily stirred from his exile; friend and fellow composer Wilhelm Stenhammar, then Artistic Director and chief conductor of the Gothenburg Symphony Orchestra, wrote to Sibelius repeatedly to persuade him to conduct a concert of his works in Gothenburg. Believing himself duty-bound to premiere a "major work" in Sweden, such as a symphony, Sibelius—to Stenhammar's chagrin—delayed each scheduled trip. He withdrew from planned concerts for March 1914, writing to Stenhammar, "My conscience forces me to this. But when I have some new works ready next year, as I hope, it would give me great joy to perform them in Gothenburg". New arrangements were made for February 1915, but these, too, Sibelius canceled in December 1914. In the end, the indefatigable Stenhammar prevailed and new concerts were set for March 1915 ("I see yet again your great sympathy for my music. I shall come".).Stenhammar's efforts were rewarded with the European premiere of The Oceanides. For Sibelius, it was an opportunity to once again be an "artist on tour", feeding off the energy and "rapturous ovations" of an audience (it had been nine months since the Norfolk concerts, which now seemed a distant memory). The first concert, on March 22, featured the Second Symphony, Scènes historiques II, and two movements from Swanwhite before concluding with The Oceanides. According to Sibelius's diary, the performance was a "great success", with Stenhammar "captivated" particularly by the final number. The 24 March program retained The Oceanides, but paired it with Scènes historiques I, the Nocturne from the King Christian II Suite, a movement from Rakastava, Lemminkäinen's Return, and the Fourth Symphony. Sibelius was very pleased with the orchestra's handling of The Oceanides, calling its performance "wonderful". He goes on to note in his diary that, "After the final number [The Oceanides] there was a deafening torrent of applause, stamps, cries of bravo, a standing ovation and fanfares from the orchestra".

A:
What year did the composer in a creative struggle perform a concert?
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