instruction:
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.
question:
Passage: Balakirev's despotism strained the relationship between him and Tchaikovsky but both men still appreciated each other's abilities. Despite their friction, Balakirev proved the only man to persuade Tchaikovsky to rewrite a work several times, as he would with Romeo and Juliet. At Balakirev's suggestion, Tchaikovsky based the work on Balakirev's King Lear, a tragic overture in sonata form after the example of Beethoven's concert overtures. It was Tchaikovsky's idea to reduce the plot to one central conflict and represent it musically with the binary structure of sonata form. However, the execution of that plot in the music we know today came only after two radical revisions. Balakirev discarded many of the early drafts Tchaikovsky sent him and, with the flurry of suggestions between the two men, the piece was constantly in the mail between Moscow and Saint Petersburg.Tchaikovsky allowed the first version to be premiered by Nikolai Rubinstein on March 16, 1870, after the composer had incorporated only some of Balakirev's suggestions. The premiere was a disaster. Stung by this rejection, Tchaikovsky took Balakirev's strictures to heart. He forced himself to reach beyond his musical training and rewrote much of the music into the form we know it today. Romeo would bring Tchaikovsky his first national and international acclaim and become a work the kuchka lauded unconditionally. On hearing the love theme from Romeo, Stasov told the group, "There were five of you; now there are six". Such was the enthusiasm of the Five for Romeo that at their gatherings Balakirev was always asked to play it through at the piano. He did this so many times that he learned to perform it from memory.Some critics, among them Tchaikovsky biographers Lawrence and Elisabeth Hanson, have wondered what would have happened if Tchaikovsky had joined Balakirev in 1862 instead of attending the Conservatory. They suggest that he might have developed much more quickly as an independent composer, and offer as proof the fact that Tchaikovsky did not write his first wholly distinct work until Balakirev goaded and inspired him to write Romeo. How well Tchaikovsky might have developed in the long run is another matter. He owed much of his musical ability, including his skill at orchestration, to the thorough grounding in counterpoint, harmony and musical theory he received at the Conservatory. Without that grounding, Tchaikovsky might not have been able to write what would become his greatest works. 
Question: What was the first names of Tchaikovsky's two biographers?
answer:
Lawrence.


question:
Passage: Boult was born in Chester, Cheshire, in North West England, the second child and only son of Cedric Randal Boult (1853–1950), and his wife Katharine Florence née Barman (d. 1927). Cedric Boult was a Justice of the Peace and a successful businessman connected with Liverpool shipping and the oil trade; Cedric and his family had "a Liberal Unitarian outlook on public affairs" with a history of philanthropy. When Boult was two years old the family moved to Blundellsands, where he was given a musical upbringing. From an early age he attended concerts in Liverpool, conducted mostly by Hans Richter. He was educated at Westminster School in London, where in his free time he attended concerts conducted by, among others, Sir Henry Wood, Claude Debussy, Arthur Nikisch, Fritz Steinbach, and Richard Strauss. His biographer, Michael Kennedy, writes, "Few schoolboys can have attended as many performances by great artists as Boult heard between 1901 and October 1908, when he went up to Christ Church, Oxford." While still a schoolboy, Boult met the composer Edward Elgar through Frank Schuster, a family friend.At Christ Church college at Oxford, where he was an undergraduate from 1908 to 1912, Boult studied history but later switched to music, in which his mentor was the musical academic and conductor Hugh Allen. Among the musical friends he made at Oxford was Ralph Vaughan Williams, who became a lifelong friend. In 1909 Boult presented a paper to an Oxford musical group, the Oriana Society, entitled Some Notes on Performance, in which he laid down three precepts for an ideal performance: observance of the composer's wishes, clarity through emphasis on balance and structure, and the effect of music made without apparent effort. These guiding principles lasted throughout his career. He was president of the University Musical Club for the year 1910, but his interests were not wholly confined to music: he was a keen rower, stroking his college boat at Henley, and all his life he remained a member of the Leander Club. 
Question: What is the last name of the person whose mentor was the musical academic and conductor Hugh Allen?
answer:
Boult.


question:
Passage: Robert Rainbird, proprietor of the Greatwood guest house at Mylor Creek, near Falmouth, was familiar with Darlwyne, having cruised with Bown in one of the earlier Tall Ships sailings. According to his later account, when two of his guests asked him about the possibility of organising a sea excursion, he put them in touch with Bown. On the evening of Saturday 30 July, amid celebrations following England's victory in the 1966 FIFA World Cup Final, Bown and his friend Jeffrey Stock, a qualified engineer, visited Greatwood. They found that enthusiasm for a sea trip had spread to many of the guests, and an agreement was made to take a large party to Fowey the following day. Different accounts were given later of the financial basis for the proposed hire – whether it was to be a fixed charge or a rate per head is uncertain.Barratt, the boat's legal owner, professed ignorance of the arrangements made at Greatwood, believing, he said, that Bown had gone there to discuss with Rainbird future charter work once the necessary licences had been obtained. Under local regulations, a licence for carrying up to 12 passengers was subject to examination of the boat by the harbourmaster, who would also require the person in charge to be a licensed skipper. Vessels proposing to carry more than 12 passengers needed a licensed master, a qualified marine engineer, and a Class III Passenger Certificate from the Board of Trade. This certificate was only granted to vessels in good condition with watertight hull compartments, a two-way radio, a qualified radio operator and a range of safety devices. Darlwyne had no radio, no distress flares, and carried only two lifebelts. Bown had apparently begun enquiries with the Falmouth Harbour Commission, but neither he nor Darlwyne possessed any of the licences needed for the boat to operate commercially. 
Question: What is the last name of the person who, along with Darlwyne, did not possess any of the licenses needed to operate a boat commercially?
answer:

Bown.