TASK DEFINITION: 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.
PROBLEM: Passage: During the 1750s  Messiah was performed increasingly at festivals and cathedrals throughout the country. Individual choruses and arias were occasionally extracted for use as anthems or motets in church services, or as concert pieces, a practice that grew in the 19th century and has continued ever since. After Handel's death, performances were given in Florence (1768), New York (excerpts, 1770), Hamburg (1772), and Mannheim (1777), where Mozart first heard it. For the performances in Handel's lifetime and in the decades following his death, the musical forces used in the Foundling Hospital performance of 1754 are thought by Burrows to be typical. A fashion for large-scale performances began in 1784, in a series of commemorative concerts of Handel's music given in Westminster Abbey under the patronage of King George III. A plaque on the Abbey wall records that "The Band consisting of DXXV [525] vocal & instrumental performers was conducted by Joah Bates Esqr." In a 1955 article, Sir Malcolm Sargent, a proponent of large-scale performances, wrote, "Mr Bates ... had known Handel well and respected his wishes. The orchestra employed was two hundred and fifty strong, including twelve horns, twelve trumpets, six trombones and three pairs of timpani (some made especially large)." In 1787 further performances were given at the Abbey; advertisements promised, "The Band will consist of Eight Hundred Performers".In continental Europe, performances of Messiah were departing from Handel's practices in a different way: his score was being drastically reorchestrated to suit contemporary tastes. In 1786, Johann Adam Hiller presented Messiah with updated scoring in Berlin Cathedral. In 1788 Hiller presented a performance of his revision with a choir of 259 and an orchestra of 87 strings, 10 bassoons, 11 oboes, 8 flutes, 8 horns, 4 clarinets, 4 trombones, 7 trumpets, timpani, harpsichord and organ. In 1789, Mozart was commissioned by Baron Gottfried van Swieten and the Gesellschaft der Associierten to re-orchestrate several works by Handel, including  Messiah (Der Messias). Writing for a small-scale performance, he eliminated the organ continuo, added parts for flutes, clarinets, trombones and horns, recomposed some passages and rearranged others. The performance took place on 6 March 1789 in the rooms of Count Johann Esterházy, with four soloists and a choir of 12. Mozart's arrangement, with minor amendments from Hiller, was published in 1803, after his death. The musical scholar Moritz Hauptmann described the Mozart additions as "stucco ornaments on a marble temple". Mozart himself was reportedly circumspect about his changes, insisting that any alterations to Handel's score should not be interpreted as an effort to improve the music. Elements of this version later became familiar to British audiences, incorporated into editions of the score by editors including Ebenezer Prout.

SOLUTION: What did Mozart hear in Mannheim?

PROBLEM: Passage: Based on Andrea Yates and her family, the five children being drowned in the family bathroom by their mother.
In the film itself, which is set in a secluded family farm, the mother suffers a psychotic break down due to postpartum depression and after her husband, a truck driver, hits the road again after only being home a day. It's all too much for her and she snaps, begins to break things in the middle of dinner. She then calmly walks away with the baby to the upstairs bedroom.
Jimmy, the eldest son, trying to keep his younger brother and sister calm, starts cleaning up, but soon he decides to check on his mother and discovers the horrible truth. His baby brother is dead, and she's preparing to take care of the rest of her kids. Now hope for the family's survival rests on the shoulder of Jimmy, the eldest son and surrogate man of the house. After his mother tries to drown his sister and he knocks her out, Jimmy gets his brother onto a bike and tells him to ride for help while trying to get his sister to safety.
Using his wits and intricate knowledge of the farm, Jimmy must try to protect his siblings while fending off the woman he has always known and loved as his mother. Only one of the children survives as the mother stalks a further two of them down and kills them in typical slasher style. Jimmy manages to survive up until his father arrives back after hearing him on a radio transmission. The film then cuts to a hospital and Jimmy is set to come home. His father then tells Jimmy that his mother is also coming home, much to Jimmy's surprise. We are then shown the mother, stood pregnant and singing rock-a-bye baby.

SOLUTION: What does Jimmy's father do for a job?

PROBLEM: Passage: In the late 1970s Tippett produced three single-movement instrumental works: the Symphony No. 4 (1977), the String Quartet No. 4 (1978), and the Triple Concerto for violin, viola and cello (1979).  The symphony, written in the manner of the tone poem or symphonic fantasia exemplified by Sibelius, represents what Tippett describes as a birth-to-death cycle, beginning and ending with the sounds of breathing. This effect was initially provided by a wind machine, although other means have been tried, with mixed results—according to Bowen "the sounds emitted can turn out to be redolent of a space-fiction film or a bordello".   The Fourth String Quartet, Tippett explains, is an exercise in "finding a sound" that he first encountered in the incidental music to a television programme on Rembrandt. In the Triple Concerto, which is thematically related to the Fourth Quartet and quotes from it, the three solo instruments  perform individually rather than as a formal grouping. The work acknowledges Tippett's past with quotations from The Midsummer Marriage.
 
Tippett described the longest and most ambitious of his late works, the oratorio The Mask of Time (1982), as "a pageant of sorts  with an ultimately lofty message". Mellers called the work "a mind-boggling cosmic history of the universe".   Paul Driver, who had been a critic of Tippett's new style, wrote that the Mask  revealed "the authentic early Tippett", with a return to the lyricism of The Midsummer Marriage and multiple acknowledgements of his early compositions.Tippett had intended The Ice Break to be his final opera, but in 1985 he began work on New Year.  Bowen saw this work as a summary of ideas and images that had attracted Tippett throughout his working life. Donal Henahan was dismissive of the music: "... the score generally natters along in the numbing, not-quite-atonal but antimelodic style familiar from other Tippett works." In Byzantium (1990), Tippett set the five stanzas of W. B. Yeats's poem, with added orchestral interludes. By this time he was professing little interest in his own work beyond its creation; performance and reception had become irrelevant to him. In 1996 he told an interviewer: "I'm outside the music I've made, I have no interest in it". After the String Quartet No. 5 (1991), which connects thematically with earlier works, Tippett closed his main output with The Rose Lake (1993), described in Tippett's Daily Telegraph obituary as "of luminous beauty ... a worthy ending to a remarkable career".

SOLUTION:
What is the last name of the man who said the late work of the musician who produced three single-movement instrumental works in the late 1970s was "the authentic early Tippett"?