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.
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Question: Passage: Erschallet, ihr Lieder is the third of the Weimar cantatas. It was the first composed for a feast day, Pentecost Sunday (Whit Sunday), Pentecost being a high holiday along with Christmas and Easter. The prescribed readings for the feast day are taken from the Acts of the Apostles, on the Holy Spirit (Acts 2:1–13), and from the Gospel of John, in which Jesus announces the Spirit who will teach, in his Farewell discourse (John 14:23–31). As in many Bach cantatas, the libretto is compiled from Bible text, contemporary poetry and chorale. The poetry is attributed to Salomon Franck, although the verses are not included in his printed editions. Several of Bach's early stylistic mannerisms appear here, such as a biblical quotation in a recitative second movement rather than in a first choral movement, arias following each other without a recitative in between, and dialogue in a duet.Franck's text shows elements of early Pietism: the expression of extreme feelings, for example "O seligste Zeiten!" (O most blessed times) in the opening chorus, and a "mystical demeanour", for example in the duet of the Soul and the Spirit united. In the middle section of the first movement, Franck paraphrases the Gospel text, which says in verse 23 that God wants to dwell with man, to "Gott will sich die Seelen zu Tempeln bereiten" (God Himself shall prepare our souls for His  temple, more literally: "God wants to prepare [our] souls to become his temples"). The words for the recitative are the quotation of verse 23 from the Gospel of John, "Wer mich liebet, der wird mein Wort halten" (Whoever loves Me will keep My Word, and My Father will love him, and We will come to him and make Our dwelling with him). Movement 3 addresses the Trinity and movement 4 the Spirit that was present at the Creation. Movement 5 is a duet of the Soul and the Spirit, underlined by an instrumental quote from Martin Luther's Pentecost hymn "Komm, Heiliger Geist, Herre Gott", which is based on the Latin hymn "Veni Sancte Spiritus, reple tuorum corda fidelium". Movement 6 is a chorale, verse four of Philipp Nicolai's hymn "Wie schön leuchtet der Morgenstern". Nicolai's "Geistlich Brautlied" (Spiritual bridal song) continues the theme of unity between Soul and Spirit.

Answer: What books of the Bible are the prescribed readings for the feast day taken from?


Question: Passage: In 1861 Saint-Saëns accepted his only post as a teacher, at the École de Musique Classique et Religieuse, Paris, which Louis Niedermeyer had established in 1853 to train first-rate organists and choirmasters for the churches of France. Niedermeyer himself was professor of piano; when he died in March 1861, Saint-Saëns was appointed to take charge of piano studies. He scandalised some of his more austere colleagues by introducing his students to contemporary music, including that of Schumann, Liszt and Wagner. His best-known pupil, Gabriel Fauré, recalled in old age:
After allowing the lessons to run over, he would go to the piano and reveal to us those works of the masters from which the rigorous classical nature of our programme of study kept us at a distance and who, moreover, in those far-off years, were scarcely known. ... At the time I was 15 or 16, and from this time dates the almost filial attachment ... the immense admiration, the unceasing gratitude I [have] had for him, throughout my life.
Saint-Saëns further enlivened the academic regime by writing, and composing incidental music for, a one-act farce performed by the students (including André Messager). He conceived his best-known piece, The Carnival of the Animals, with his students in mind, but did not finish composing it until 1886, more than twenty years after he left the Niedermeyer school.In 1864 Saint-Saëns caused some surprise by competing a second time for the Prix de Rome. Many in musical circles were puzzled by his decision to enter the competition again, now that he was establishing a reputation as a soloist and composer. He was once more unsuccessful. Berlioz, one of the judges, wrote:
We gave the Prix de Rome the other day to a young man who wasn't expecting to win it and who went almost mad with joy. We were all expecting the prize to go to Camille Saint-Saëns, who had the strange notion of competing. I confess I was sorry to vote against a man who is truly a great artist and one who is already well known, practically a celebrity. But the other man, who is still a student, has that inner fire, inspiration, he feels, he can do things that can't be learnt and the rest he'll learn more or less. So I voted for him, sighing at the thought of the unhappiness that this failure must cause Saint-Saëns. But, whatever else, one must be honest.

Answer: What is the first name of the man who scandalised some of his more austere colleagues by introducing his students to contemporary music.?


Question: Passage: In 1955, Paul Hindemith revised the work to achieve more clarity. According to Wolfgang Rathert, Hindemith "sought to moderate Reger's 'uncontrolled invention'", while Kirshnit described Reger's original scoring as "gloriously polychromatic". Hindemith "thinned" the orchestra, especially the horns. In Reger's scoring, the organ reinforced the voices throughout the piece, resulting in a lack of clarity for the polyphonic passages. Hindemith used the organ only for climaxes. In the double fugue, he assigned one theme to a voice, but the other simultaneous theme to the orchestra. Hindemith's approach, which enables more analytical listening, seems justified by Reger's own scoring of later compositions which were more refined and focused. It is probably due to his version that Der 100. Psalm enjoyed continuous presence in concert halls, while other works by Reger were neglected.François Callebout wrote an organ version that was published in 2004 by Dr. J. Butz. Gabriel Dessauer explains in the preface that Reger's work was conceived for oratorio choirs of up to 500 singers at the beginning of the 20th century. The organ version enables smaller choirs to perform the music. This version was premiered in 2003 by the Reger-Chor in St. Bonifatius, Wiesbaden, the parish to which the composer belonged during his studies in Wiesbaden. The organ was played by Ignace Michiels, organist at the St. Salvator Cathedral in Bruges.Hanns-Friedrich Kaiser, KMD (director of church music) in Weiden, where Reger grew up, wrote a version for choir and organ, which he conducted at the opening of the festival Reger-Tage at the church St. Michael on 16 September 2012, with organist Michael Schöch.

Answer:
What is the first name of the person who "sought to moderate Reger's 'uncontrolled invention'?"?