TASK DEFINITION: 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.
PROBLEM: Passage: Shackleton's first task, on arriving at the Stromness station, was to arrange for his three companions at Peggoty Camp to be picked up. A whaler was sent round the coast, with Worsley aboard to show the way, and by the evening of 21 May all six of the James Caird party were safe.It took four attempts before Shackleton was able to return to Elephant Island to rescue the party stranded there. He first left South Georgia a mere three days after he had arrived in Stromness, after securing the use of a large whaler, The Southern Sky, which was laid up in Husvik Harbour. Shackleton assembled a volunteer crew, which had it ready to sail by the morning of 22 May. As the vessel approached Elephant Island they saw that an impenetrable barrier of pack ice had formed, some 70 miles (110 km) from their destination. The Southern Sky was not built for ice breaking, and retreated to Port Stanley in the Falkland Islands.On reaching Port Stanley, Shackleton informed London by cable of his whereabouts, and requested that a suitable vessel be sent south for the rescue operation. He was informed by the Admiralty that nothing was available before October, which in his view was too late. Then, with the help of the British Minister in Montevideo, Shackleton obtained from the Uruguayan government the loan of a tough trawler, Instituto de Pesca No. 1, which started south on 10 June. Again the pack thwarted them. In search of another ship, Shackleton, Worsley and Crean travelled to Punta Arenas, where they met Allan MacDonald, the British owner of the schooner Emma. McDonald equipped this vessel for a further rescue attempt, which left on 12 July, but with the same negative result—the pack defeated them yet again. Shackleton later named a glacier after McDonald on the Brunt Ice Shelf in the Weddell Sea. After problems arose in identifying this glacier, a nearby ice rise was renamed the McDonald Ice Rumples.By now it was mid-August, more than three months since Shackleton had left Elephant Island. Shackleton begged the Chilean Government to lend him Yelcho, a small steam tug that had assisted Emma during the previous attempt. They agreed; on 25 August, Yelcho—captained by Luis Pardo–set out for Elephant Island. This time, as Shackleton records, providence favoured them. The seas were open, and the ship was able to approach close to the island, in thick fog. At 11:40 a.m. on 30 August, the fog lifted, the camp was spotted and, within an hour, all the Elephant Island party were safely aboard, bound for Punta Arenas. 
Question: What vessel did MacDonald equip for a further rescue attempt?

SOLUTION: Emma.

PROBLEM: Passage: Ferrier gave her first London recital on 28 December 1942 at the National Gallery, in a lunch-time concert organised by Dame Myra Hess. Although she wrote "went off very well" in her diary, Ferrier was disappointed with her performance, and concluded that she needed further voice training. She approached the distinguished baritone Roy Henderson with whom, a week previously, she had sung in Mendelssohn's Elijah. Henderson agreed to teach her, and was her regular voice coach for the remainder of her life. He later explained that her "warm and spacious tone" was in part due to the size of the cavity at the back of her throat: "one could have shot a fair-sized apple right to the back of the throat without obstruction". However, this natural physical advantage was not in itself enough to ensure the quality of her voice; this was due, Henderson says, to "her hard work, artistry, sincerity, personality and above all her character".
Ferrier's performances in the Glyndebourne run, which began on 12 July 1946, earned her favourable reviews, although the opera itself was less well received. On the provincial tour which followed the festival it failed to attract the public and incurred heavy financial losses.
By contrast, when the opera reached Amsterdam it was greeted warmly by the Dutch audiences who showed particular enthusiasm for Ferrier's performance. This was Ferrier's first trip abroad, and she wrote an excited letter to her family: "The cleanest houses and windows you ever did see, and flowers in the fields all the way!" Following her success as Lucretia she agreed to return to Glyndebourne in 1947, to sing Orfeo in Gluck's opera Orfeo ed Euridice. She had often sung Orfeo's aria Che farò ("What is life") as a concert piece, and had recently recorded it with Decca. At Glyndebourne, Ferrier's limited acting abilities caused some difficulties in her relationship with the conductor, Fritz Stiedry; nevertheless her performance on the first night, 19 June 1947, attracted warm critical praise.Ferrier's association with Glyndebourne bore further fruit when Rudolf Bing, the festival's general manager, recommended her to Bruno Walter as the contralto soloist in a performance of Mahler's symphonic song cycle Das Lied von der Erde. This was planned for the 1947 Edinburgh International Festival. Walter was initially wary of working with a relatively new singer, but after her audition his fears were allayed; "I recognised with delight that here potentially was one of the greatest singers of our time", he later wrote. Das Lied von der Erde was at that time largely unknown in Britain, and some critics found it unappealing; nevertheless, the Edinburgh Evening News thought it "simply superb". In a later biographical sketch of Ferrier, Lord Harewood described the partnership between Walter and her, which endured until the singer's final illness, as "a rare match of music, voice and temperament.". 
Question: What is the last name of the person who sang with Roy in Mendelssohn's Elijah?

SOLUTION: Ferrier.

PROBLEM: Passage: During his lifetime it was above all as a master of orchestration that Ravel was famous. He minutely studied the ability of each orchestral instrument to determine its potential, putting its individual colour and timbre to maximum use. The critic Alexis Roland-Manuel wrote, "In reality he is, with Stravinsky, the one man in the world who best knows the weight of a trombone-note, the harmonics of a 'cello or a pp tam-tam in the relationships of one orchestral group to another."
For all Ravel's orchestral mastery, only four of his works were conceived as concert works for symphony orchestra: Rapsodie espagnole, La valse and the two concertos. All the other orchestral works were written either for the stage, as in Daphnis et Chloé, or as a reworking of piano pieces, Alborada del gracioso and Une barque sur l'ocean, (Miroirs), Valses nobles et sentimentales,  Ma mère l'Oye, Tzigane (originally for violin and piano) and Le tombeau de Couperin. In the orchestral versions, the instrumentation generally clarifies the harmonic language of the score and brings sharpness to classical dance rhythms. Occasionally, as in the Alborada del gracioso, critics have found the later orchestral version less persuasive than the sharp-edged piano original.In some of his scores from the 1920s, including Daphnis et Chloé, Ravel frequently divides his upper strings, having them play in six to eight parts while the woodwind are required to play with extreme agility. His writing for the brass ranges from softly muted to triple-forte outbursts at climactic points. In the 1930s he tended to simplify his orchestral textures. The lighter tone of the G major Piano Concerto follows the models of Mozart and Saint-Saëns, alongside use of jazz-like themes. The critics Edward Sackville-West and Desmond Shawe-Taylor comment that in the slow movement, "one of the most beautiful tunes Ravel ever invented", the composer "can truly be said to join hands with Mozart". The most popular of Ravel's orchestral works, Boléro (1928), was conceived several years before its completion; in 1924 he said that he was contemplating "a symphonic poem without a subject, where the whole interest will be in the rhythm".Ravel made orchestral versions of piano works by Schumann, Chabrier, Debussy and Mussorgsky's piano suite Pictures at an Exhibition. Orchestral versions of the last by Mikhail Tushmalov, Sir Henry Wood and Leo Funtek predated Ravel's 1922 version, and many more have been made since, but Ravel's remains the best known. Kelly remarks on its "dazzling array of instrumental colour", and a contemporary reviewer commented on how, in dealing with another composer's music, Ravel had produced an orchestral sound wholly unlike his own. 
Question: What does Ravel have play in six to eight parts while the woodwind are required to play with extreme agility?

SOLUTION:
his upper strings.