instruction:
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.
question:
Passage: Albrecht the Elder was 62 or 63  when his panel was painted early in 1490. Barbara's portrait may have been completed soon after, when she would have been around 39. Their son was around 18 and had just completed his apprenticeship with Michael Wolgemut, and would soon leave for Nuremberg to travel as a journeyman painter. The father panel was painted first; for aesthetic reasons Dürer may have waited a year or two until his mother looked older.The sitters are presented in three-quarter view before flat, nondescript lacquer-like green backgrounds, which although lushly coloured, are thinly layered. Each has a white ground and light red imprimatura with lead content. The sitter's form and pose echo and in many ways counterbalance each other. Brand Philip draws attention to the similarities of the panels' linear construction, especially the manner in which the folds and lines of their clothing form triangular shapes. The train of Barbara's headdress across her chest corresponds with the opening of Albrecht's fur-lined coat. It was more usual in pendant portraits of this type for the male to be on the left-hand side; the positioning here may be an indication that Dürer originally intended his father's panel to stand alone, given that Barbara's was painted some time later.Albrecht the Elder's panel is regarded as the superior of the two works. This may in part be attributed to differing contemporary treatments of male and female portraits; men were allowed more individuality, while female portraits were bound by stereotypes and were not as daring, for example showing evidence of ageing. In either case, the father painting is far more closely detailed, especially in the lining of clothing, which is summary in Barbara's panel, compared to the long seam of her husband's gown. This contrast in detail can also be seen in the treatment of the rosaries, which are given prominence and a glowing red colour in his panel, but are small and relegated in hers.Albrecht the Elder's panel is usually, but not always, thought to be the first of the two to be executed and, if so, is the earliest extant example of his son's painting. In contrast, a number of art historians have noted that his mother's portrait contains bland passages, especially around the eyes and may be a near-contemporary copy of a lost original. Lotte Brand Philip believes the clumsiness in the mother panel indicated that Dürer painted it first, as a youthful attempt at portraiture, and that Albrecht the Elder might have later "commissioned" his own portrait to pair with Barbara's. Recent technical examination of the two panels confirms that Barbara's portrait was painted later than her husband's.
answer:
What is the name of the person that completed his apprenticeship with Michael Wolgemut?


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: British production company Granada TV approached Ray Davies in early January 1969, expressing interest in developing a movie or play for television. Davies was to collaborate with writer Julian Mitchell on the "experimental" programme, with a soundtrack by the Kinks to be released on an accompanying LP. Agreements were finalised on 8 January, but the project was not revealed until a press release on 10 March. Separately, the Kinks began work on the programme's companion record, entitled Arthur (Or the Decline and Fall of the British Empire). Development of Arthur occurred during a rough period for the band, due to the commercial failure of their previous album The Kinks Are the Village Green Preservation Society and the subsequent single, "Plastic Man", as well as the departure of founding member and bassist Pete Quaife. In early 1969, Quaife had told the band he was quitting, though the other members did not take the remark seriously. When an article in the New Musical Express mentioned Maple Oak, the band that he had formed without the rest of the Kinks' knowledge, Davies unsuccessfully asked Quaife to return for the upcoming sessions of Arthur. As a replacement, Davies called up bassist John Dalton, who had previously filled in for Quaife.Davies travelled to United Recording Studios in Los Angeles, California on 11 April 1969, to produce American pop band The Turtles' LP Turtle Soup with engineer Chuck Britz. While in Los Angeles, Davies helped negotiate an end to the concert ban placed on the Kinks by the American Federation of Musicians in 1965. Although neither the Kinks nor the union gave a specific reason for the ban, at the time it was widely attributed to their rowdy on-stage behaviour. After negotiations with Davies, the Federation relented, opening up an opportunity for the group to return to touring in America. Once the main sessions for the Turtles LP were completed, Davies returned to England. While Davies was abroad, the other members of the band had been rehearsing and practising for the upcoming album, as well as lead guitarist Dave Davies' solo album, nicknamed A Hole in the Sock of. When Ray returned, the Kinks regrouped at his house in Borehamwood, Hertfordshire, to rehearse the upcoming album Arthur.
answer:

What is the name of the solo album of the guitarist in the band that had a concert ban?