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.

[Q]: Passage: Igor Stravinsky was the son of Fyodor Stravinsky, the principal bass singer at the Imperial Opera, St Petersburg, and Anna, née Kholodovskaya, a competent amateur singer and pianist from an old-established Russian family. Fyodor's association with many of the leading figures in Russian music, including Rimsky-Korsakov, Borodin and Mussorgsky, meant that Igor grew up in an intensely musical home. In 1901 Stravinsky began to study law at Saint Petersburg University while taking private lessons in harmony and counterpoint. Stravinsky worked under the guidance of Rimsky-Korsakov, having impressed him with some of his early compositional efforts. By the time of his mentor's death in 1908 Stravinsky had produced several works, among them a Piano Sonata in F♯ minor (1903–04), a Symphony in E♭ major (1907), which he catalogued as "Opus 1", and a short orchestral piece, Feu d'artifice ("Fireworks", composed in 1908).In 1909 Feu d'artifice was performed at a concert in St. Petersburg. Among those in the audience was the impresario Sergei Diaghilev, who at that time was planning to introduce Russian music and art to western audiences. Like Stravinsky, Diaghilev had initially studied law, but had gravitated via journalism into the theatrical world. In 1907 he began his theatrical career by presenting five concerts in Paris; in the following year he introduced Mussorgsky's opera Boris Godunov. In 1909, still in Paris, he launched the Ballets Russes, initially with Borodin's Polovtsian Dances from Prince Igor and Rimsky-Korsakov's Scheherazade. To present these works Diaghilev recruited the choreographer Michel Fokine, the designer Léon Bakst and the dancer Vaslav Nijinsky. Diaghilev's intention, however, was to produce new works in a distinctively 20th-century style, and he was looking for fresh compositional talent. Having heard Feu d'artifice he approached Stravinsky, initially with a request for help in orchestrating music by Chopin to create the ballet Les Sylphides. Stravinsky worked on the opening "Nocturne" and the closing "Valse Brillante"; his reward was a much bigger commission, to write the music for a new ballet, The Firebird (L'oiseau de feu) for the 1910 season.Stravinsky worked through the winter of 1909–10, in close association with Fokine who was choreographing The Firebird. During this period Stravinsky made the acquaintance of Nijinsky who, although not dancing in the ballet, was a keen observer of its development. Stravinsky was uncomplimentary when recording his first impressions of the dancer, observing that he seemed immature and gauche for his age (he was 21). On the other hand, Stravinsky found Diaghilev an inspiration, "the very essence of a great personality". The Firebird was premiered on 25 June 1910, with Tamara Karsavina in the main role, and was a great public success. This ensured that the Diaghilev–Stravinsky collaboration would continue, in the first instance with Petrushka (1911) and then The Rite of Spring. 
Question: What is the full name of the person that impressed Rimsky-Korsakov with their early compositional efforts?
[A]: Igor Stravinsky.


[Q]: Passage: Chat Moss may be named after St Chad, a 7th-century bishop of Mercia, but as it was once part of a great tree-edged lake, as evidenced by the numerous wood remains in the lower levels of the peat, it is perhaps more likely that the name stems from the Celtic word ced, meaning wood. Chat Moss could also derive from Ceatta, an Old English personal name and mos, a swamp or alternatively the first element could be the Old English ceat meaning a piece of wet ground. It was recorded as Catemosse in 1277 and Chatmos in 1322. Moss is the local name for a peat bog.Daniel Defoe visited the area in 1724, on his way from Warrington to Manchester:
From hence (Warrington), on the road to Manchester, we pass'd the great bog or waste call'd Chatmos, the first of that kind that we see in England ...
The surface, at a distance, looks black and dirty, and is indeed frightful to think of, for it will bear neither horse or man, unless in an exceeding dry season, and then not so as to be passable, or that any one should travel over them ... What nature meant by such a useless production, 'tis hard to imagine; but the land is entirely waste, excep ... for the poor cottagers fuel, and the quantity used for that is very small.
Peat bogs sometimes burst their boundaries, particularly after being subjected to heavy rainfall, and this seems to have happened with Chat Moss in the 16th century. John Leland, writing during the reign of King Henry VIII, described one such event:
Chat Moss brast up within a mile of Mosley Haul, and destroied much grounde with mosse thereabout, and destroyed much fresh-water fishche thereabout, first corrupting with stinkinge water Glasebrooke, and so Glasebrooke carried stinkinge water and mosse into Mersey water, and Mersey corrupted carried the roulling mosse, part to the shores of Wales, part to the isle of Man, and some unto Ireland.
Chat Moss presented a significant challenge to the engineers constructing the Liverpool and Manchester Railway in 1826 because of the difficulty in providing a solid base for the track, in particular at a location known as Blackpool Hole. George Stephenson  was the engineer in charge of the project, and his initial idea was to dump enough spoil in the bog so that it would reach the bottom. This approach turned out to be impractical however, as the liquidity of the bog allowed the spoil to flow away from where the track was to be laid. The eventual solution, to build the line on a "floating" wood and stone foundation, was hailed as a "great triumph of engineering". The first train ran through Chat Moss in 1830, and the line is still in use today. 
Question: What place did Daniel Defoe visited in 1724?
[A]: Chatmos.


[Q]: Passage: In May 1962 A Child of Our Time received its Israel premiere in Tel Aviv. Tippett says that this performance was delayed because for a while there were local objections to the word "Jesus" in the text. When it came about, among the audience was Herschel Grynszpan's father who, Tippett wrote, was "manifestly touched by the work his son's precipitate action 25 years earlier had inspired." The performance, by the Kol Yisrael Orchestra with the Tel Aviv Chamber Choir, was acclaimed by the audience of 3000, but received mixed reviews from the press. The Times report noted contrasting opinions from two leading Israeli newspapers. The correspondent for Haaretz had expressed disappointment: "Every tone is unoriginal, and the work repeats old effects in a most conventional manner". Conversely, according to the Times report, HaBoker's critic had "found that the composition had moved everyone to the depths of his soul ... no Jewish composer had ever written anything so sublime on the theme of the Holocaust."Despite its successes in Europe A Child of Our Time did not reach the United States until 1965, when it was performed during the Aspen Music Festival, with the composer present. In his memoirs Tippett mentions another performance on that American tour, at a women's college in Baltimore, in which the male chorus and soloists were black Catholic ordinands from a local seminary. The first significant American presentations of the work came a decade later: at Cleveland in 1977 where Prince Charles, who was visiting, delayed his departure so that he could attend, and at Carnegie Hall, New York, where Colin Davis conducted the Boston Symphony Orchestra and the Tanglewood Festival Chorus. Reviewing this performance for The New York Times, Donal Henahan was unconvinced that the work's "sincerity and unimpeachable intentions add[ed] up to important music". The spirituals were sung with passion and fervour, but the rest was "reminiscent of a familiar pious sermon" in which the words were only intermittently intelligible. Meanwhile, the work had achieved its African debut, where in 1975 Tippett observed a performance with an improvised orchestra which incorporated the Zambian Police Band. The Zambian president, Kenneth Kaunda, was present, and entertained the composer afterwards. 
Question: What year did the piece that premiered in Israel in 1962 premiere in Africa?
[A]:
1975.