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: Sir John Barbirolli, CH (2 December 1899 – 29 July 1970), né Giovanni Battista Barbirolli, was a British conductor and cellist. He is remembered above all as conductor of the Hallé Orchestra in Manchester, which he helped save from dissolution in 1943 and conducted for the rest of his life. Earlier in his career he was Arturo Toscanini's successor as music director of the New York Philharmonic, serving from 1936 to 1943. He was also chief conductor of the Houston Symphony from 1961 to 1967, and was a guest conductor of many other orchestras, including the BBC Symphony Orchestra, London Symphony Orchestra, the Philharmonia, the Berlin Philharmonic and the Vienna Philharmonic, with all of which he made recordings.
Born in London of Italian and French parentage, Barbirolli grew up in a family of professional musicians.  After starting out as a cellist, he was given the chance to conduct, from 1926 with the British National Opera Company, and then with Covent Garden's touring company. On taking up the conductorship of the Hallé he had less opportunity to work in the opera house, but in the 1950s he conducted productions of works by Verdi, Wagner, Gluck, and Puccini at Covent Garden with such success that he was invited to become the company's permanent musical director, an invitation he declined. Late in his career he made several recordings of operas, of which his 1967 set of Puccini's Madama Butterfly for EMI is probably the best known.
Both in the concert hall and on record, Barbirolli was particularly associated with the music of English composers such as Elgar, Delius and Vaughan Williams. His interpretations of other late romantic composers, such as Mahler and Sibelius, as well as of earlier classical composers, including Schubert, are also still admired.

Output: What was the name of the company that Barbirolli declined an invitation to become the music director?


Input: Consider Input: 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.

Output: What did Mozart hear in Mannheim?


Input: Consider Input: Passage: Administration of Nuffield's donation was the responsibility of the University, as the college did not become an independent body until after the Second World War. A sub-committee, consisting of three heads of Oxford colleges (Sir William Beveridge from University College; Alfred Emden from St Edmund Hall; and Linda Grier from Lady Margaret Hall), was appointed to choose the architect; Emden appears to have played the major part in the group's work. Eight architects were initially asked to compete, including Louis de Soissons, Vincent Harris, Austen Harrison, Charles Holden, Edward Maufe, and Hubert Worthington. All but Holden and Maufe submitted photographs of their work, and the sub-committee then recommended Harrison, a decision confirmed after he was interviewed on 17 June 1938. At that time, Harrison had never worked in Britain: although he had qualified there, he had practised in Greece and Palestine.  Indeed, the college seems to have been his only project in the country, and remains his best known work, along with his later University of Ghana.  Harrison was not given any restrictions or limitations on style; Nuffield agreed to Harrison's appointment, but was not consulted on the architectural style of the college before Harrison started work. When Nuffield's donation was announced, it was reported that the "general idea" was that the college buildings should be sited behind gardens, similar to the memorial gardens at Christ Church, Oxford, so that those entering Oxford from the west would be faced with a "beautiful vista of well-planned gardens seen through railings"; this idea did not form part of Harrison's designs.
After Harrison's preliminary studies, it became clear that the proposed site could not contain a college and an institute for social science research as planned; Nuffield agreed to provide an additional plot of land on the opposite side of Worcester Street. Harrison proposed to build the college on the main site, with the institute on the second site. The hall was to be at the east end of the main site, aligned east to west, with a tower at the west end; the upper quadrangle, to the immediate west of the hall and aligned north to south, would have the Warden's Lodging at the north end and the chapel at the south end; steps would lead down from the upper quadrangle into the lower quadrangle, again aligned east to west, with the main entrance at the far east end of the lower quadrangle. The proposed institute would face the main college entrance across Worcester Street. The sub-committee recommended that Harrison's plans be adopted in January 1939, and a model of the design was shown to Nuffield in June 1939 – he had been abroad for much of the intervening period.


Output: What is the full name of the person that was interviewed on 17 June 1938?