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.

Input: Consider Input: Passage: The Avenue Range Station massacre was the murder of a group of Aboriginal Australians by white settlers during the Australian frontier wars. It occurred in about September 1848 at Avenue Range, a sheep station in the southeast of the Colony of South Australia.
Information is scarce about the basic facts of the massacre, including the exact date and number of victims. A contemporary account of the massacre listed nine victims – three women, two teenage girls, three infants, and an "old man blind and infirm". Another account published by Christina Smith in 1880 gave the number of victims as eleven, and specified that they belonged to the Tanganekald people. Pastoralist James Brown and his overseer, a man named Eastwood, were suspected of committing the murders in retaliation for attacks on Brown's sheep.
In January 1849, reports of the massacre reached Matthew Moorhouse, the Protector of Aborigines. He visited the district to investigate the claims, and based on his enquiries Brown was charged with the murders in March 1849. Proceedings against Brown began in June 1849 and continued in the Supreme Court of South Australia for several months, but were eventually abandoned. Some key witnesses, including Eastwood, either fled the colony or refused to cooperate with the investigation. There were also significant restrictions on the use of evidence given by Aboriginal witnesses, especially where a verdict could involve capital punishment. These legal hurdles and settler solidarity ensured the case did not go to trial, although the magistrate who committed him for trial told a friend that there was "little question of the butchery or the butcher".
Although the details of the case were known for decades after the murders, distortions of the massacre eventually appeared in print and were embellished by local white and Aboriginal historians. Two key aspects of these later accounts were that Brown poisoned rather than shot the victims, and that he had undertaken an epic horse ride to Adelaide to establish an alibi. Historians Robert Foster, Rick Hosking and Amanda Nettelbeck contend that these "pioneer legend" alterations downplayed the seriousness of the crime.

Output: The details of the case were known for decades after what murders?


Input: Consider Input: Passage: Elgar's recordings were released on 78-rpm discs by both HMV and RCA Victor. After World War II, the 1932 recording of the Violin Concerto with the teenage Menuhin as soloist remained available on 78 and later on LP, but the other recordings were out of the catalogues for some years. When they were reissued by EMI on LP in the 1970s, they caused surprise to many by their fast tempi, in contrast to the slower speeds adopted by many conductors in the years since Elgar's death. The recordings were reissued on CD in the 1990s.In November 1931, Elgar was filmed by Pathé for a newsreel depicting a recording session of Pomp and Circumstance March No. 1 at the opening of EMI's Abbey Road Studios in London. It is believed to be the only surviving sound film of Elgar, who makes a brief remark before conducting the London Symphony Orchestra, asking the musicians to "play this tune as though you've never heard it before." A memorial plaque to Elgar at Abbey Road was unveiled on 24 June 1993.A late piece of Elgar's, the Nursery Suite, was an early example of a studio premiere: its first performance was in the Abbey Road studios. For this work, dedicated to the wife and daughters of the Duke of York, Elgar once again drew on his youthful sketch-books.
In his final years, Elgar experienced a musical revival. The BBC organised a festival of his works to celebrate his seventy-fifth birthday, in 1932. He flew to Paris in 1933 to conduct the Violin Concerto for Menuhin. While in France, he visited his fellow composer Frederick Delius at his house at Grez-sur-Loing. He was sought out by younger musicians such as Adrian Boult, Malcolm Sargent and John Barbirolli, who championed his music when it was out of fashion. He began work on an opera, The Spanish Lady, and accepted a commission from the BBC to compose a Third Symphony. His final illness, however, prevented their completion. He fretted about the unfinished works. He asked Reed to ensure that nobody would "tinker" with the sketches and attempt a completion of the symphony, but at other times he said, "If I can't complete the Third Symphony, somebody will complete it – or write a better one." After Elgar's death, Percy M. Young, in co-operation with the BBC and Elgar's daughter Carice, produced a version of The Spanish Lady, which was issued on CD. The Third Symphony sketches were elaborated by the composer Anthony Payne into a complete score in 1998.Inoperable colorectal cancer was discovered during an operation on 8 October 1933. He told his consulting doctor, Arthur Thomson, that he had no faith in an afterlife: "I believe there is nothing but complete oblivion." Elgar died on 23 February 1934 at the age of seventy-six and was buried next to his wife at St. Wulstan's Roman Catholic Church in Little Malvern.

Output: Whose music did John Barbirolli champion when it was out of fashion?


Input: Consider Input: Passage: The Shakespeare Gallery, when it opened on 4 May 1789, contained 34 paintings, and by the end of its run it had between 167 and 170.  (The exact inventory is uncertain and most of the paintings have disappeared; only around 40 paintings can be identified with any certainty.) According to Frederick Burwick, during its sixteen-year operation, the Gallery reflected the transition from Neoclassicism to Romanticism. Works by artists such as James Northcote represent the conservative, neoclassical elements of the gallery, while those of Henry Fuseli represent the newly emerging Romantic movement. William Hazlitt praised Northcote in an essay entitled "On the Old Age of Artists", writing "I conceive any person would be more struck with Mr. Fuseli at first sight, but would wish to visit Mr. Northcote oftener."The gallery itself was a fashionable hit with the public. Newspapers carried updates of the construction of the gallery, down to drawings for the proposed façade. The Daily Advertiser featured a weekly column on the gallery from May through August (exhibition season). Artists who had influence with the press, and Boydell himself, published anonymous articles to heighten interest in the gallery, which they hoped would increase sales of the edition.At the beginning of the enterprise, reactions were generally positive. The Public Advertiser wrote on 6 May 1789: "the pictures in general give a mirror of the poet ... [The Shakespeare Gallery] bids fair to form such an epoch in the History of the Fine Arts, as will establish and confirm the superiority of the English School". The Times wrote a day later:
This establishment may be considered with great truth, as the first stone of an English School of Painting; and it is peculiarly honourable to a great commercial country, that it is indebted for such a distinguished circumstance to a commercial character—such an institution—will place, in the Calendar of Arts, the name of Boydell in the same rank with the Medici of Italy.
Fuseli himself may have written the review in the Analytical Review, which praised the general plan of the gallery while at the same time hesitating: "such a variety of subjects, it may be supposed, must exhibit a variety of powers; all cannot be the first; while some must soar, others must skim the meadow, and others content themselves to walk with dignity". However, according to Frederick Burwick, critics in Germany "responded to the Shakespeare Gallery with far more thorough and meticulous attention than did the critics in England".Criticism increased as the project dragged on: the first volume did not appear until 1791. James Gillray published a cartoon labelled "Boydell sacrificing the Works of Shakespeare to the Devil of Money-Bags". The essayist and soon-to-be co-author of the children's book Tales from Shakespeare (1807) Charles Lamb criticised the venture from the outset:.


Output: What is the last name of the essayist that critcised gallery that opened on 4 May 1789 from the outset?