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.

Input: Consider Input: Passage: The film tells a fictionalized version of the Pilgrims' voyage across the Atlantic Ocean to North America aboard the Mayflower. During the long sea voyage, Capt. Christopher Jones falls in love with Dorothy Bradford, the wife of William Bradford. The love triangle is resolved in a tragic way at the film's conclusion.  Ship's carpenter John Alden -- said to be the first person to set foot on Plymouth Rock in 1620—catches the eye of Priscilla Mullins, one of the young Pilgrims following William Bradford.  Alden ultimately wins Priscilla in another, if subtler, triangle with Miles Standish.   Lloyd Bridges provides comic relief as the first-mate Coppin, and child star Tommy Ivo gives a touching performance as young William Button, the only passenger to die on the actual voyage across the storm-swept Atlantic, who, according to this film, wanted to be the first to sight land and to become a king in the New World. "I'm going to be the first to see land. Keep me eye peeled, I will. Then I'll be the first. It'll be like the Garden of Eden and I'm going to be the first to see it". 
Question: Whose husband does the girl that notices the first person to set foot on Plymouth Rock follow?

Output: Dorothy Bradford.


Input: Consider Input: 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?

Output: Boult.


Input: Consider Input: Passage: Bach structured the cantata in eight movements: an instrumental sinfonia and seven vocal movements corresponding to the stanzas of the hymn. The duration is given as 22 minutes.The title of the original parts of the first Leipzig performance is (in Johann Christoph Altnickol's handwriting): "Feria Paschatos / Christ lag in Todes Banden / a.4. Voc: / Cornetto / 3 Trombon. / 2 Violini / 2 Viole / con / Continuo / Di Sign. Joh.Seb.Bach", In this late version, Bach scored the work for four vocal parts (soprano (S), alto (A), tenor (T), and bass (B)), and a Baroque instrumental ensemble consisting of strings, brass and continuo. The brass parts, a choir of cornetto (Ct) and three trombones (Tb) playing colla parte with the voices at times, may have been added in the 1720s. They may also possibly represent the original scoring, in the style of the 17th-century polychoral tradition.The scoring of the cantata Christ lag in Todes Banden has been described as "archaic" and its style "medieval":
The string section consists of two violin parts (Vl) and two viola parts (VA); this indicates an older practice as for instance found in 17th-century church cantatas by Bach's ancestors (see Altbachisches Archiv), and in Jesus Christus ist um unsrer Missetat willen verwundet, a Passion setting from the early 18th century (or older) which Bach had performed a few years after composing the cantata Christ lag in Todes Banden. In the first half of the 18th century the standard for a string section soon evolved to two violin parts, one viola part and continuo.
The cornett used in the cantata was an instrument that belonged to an earlier age: by the second quarter of the 18th century it had almost entirely disappeared from Bach's compositions.
The brass instruments were only used for the 1 April 1725 version of the work.  The other performances (24 April 1707, 8 April 1708, and 9 April 1724) were performed without brass instruments (i.e., Cornetto and three Trombones).
The first version (1707 and 1708) concluded with the words of Verse 7 of the Chorale, but the music was that of Movement 2 (Verse 1 of Chorale).  In 1724 and 1725, Bach changed this out to the now-used 4-part Chorale setting.
There is relatively little distinction between choral sections of the cantata and sections for vocal soloists; one editor commented that the "whole cantata may be sung as chorus". This compares to the clearer demarcation between choral movements and movements for vocal soloists in Bach's later works.  However, the number of voices the composer intended per part remains somewhat contentious, and recordings of the work differ considerably in the configurations deployed. 
Question: The brass instruments were only used for the 1 April 1725 version of what?


Output: Christ lag in Todes Banden.