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.
--------
Question: Passage: Igor Stravinsky was the son of Fyodor Stravinsky, the principal bass singer at the Imperial Opera, St Petersburg, and Anna, née Kholodovskaya, a competent amateur singer and pianist from an old-established Russian family. Fyodor's association with many of the leading figures in Russian music, including Rimsky-Korsakov, Borodin and Mussorgsky, meant that Igor grew up in an intensely musical home. In 1901 Stravinsky began to study law at Saint Petersburg University while taking private lessons in harmony and counterpoint. Stravinsky worked under the guidance of Rimsky-Korsakov, having impressed him with some of his early compositional efforts. By the time of his mentor's death in 1908 Stravinsky had produced several works, among them a Piano Sonata in F♯ minor (1903–04), a Symphony in E♭ major (1907), which he catalogued as "Opus 1", and a short orchestral piece, Feu d'artifice ("Fireworks", composed in 1908).In 1909 Feu d'artifice was performed at a concert in St. Petersburg. Among those in the audience was the impresario Sergei Diaghilev, who at that time was planning to introduce Russian music and art to western audiences. Like Stravinsky, Diaghilev had initially studied law, but had gravitated via journalism into the theatrical world. In 1907 he began his theatrical career by presenting five concerts in Paris; in the following year he introduced Mussorgsky's opera Boris Godunov. In 1909, still in Paris, he launched the Ballets Russes, initially with Borodin's Polovtsian Dances from Prince Igor and Rimsky-Korsakov's Scheherazade. To present these works Diaghilev recruited the choreographer Michel Fokine, the designer Léon Bakst and the dancer Vaslav Nijinsky. Diaghilev's intention, however, was to produce new works in a distinctively 20th-century style, and he was looking for fresh compositional talent. Having heard Feu d'artifice he approached Stravinsky, initially with a request for help in orchestrating music by Chopin to create the ballet Les Sylphides. Stravinsky worked on the opening "Nocturne" and the closing "Valse Brillante"; his reward was a much bigger commission, to write the music for a new ballet, The Firebird (L'oiseau de feu) for the 1910 season.Stravinsky worked through the winter of 1909–10, in close association with Fokine who was choreographing The Firebird. During this period Stravinsky made the acquaintance of Nijinsky who, although not dancing in the ballet, was a keen observer of its development. Stravinsky was uncomplimentary when recording his first impressions of the dancer, observing that he seemed immature and gauche for his age (he was 21). On the other hand, Stravinsky found Diaghilev an inspiration, "the very essence of a great personality". The Firebird was premiered on 25 June 1910, with Tamara Karsavina in the main role, and was a great public success. This ensured that the Diaghilev–Stravinsky collaboration would continue, in the first instance with Petrushka (1911) and then The Rite of Spring. 
Question: What is the full name of the person that impressed Rimsky-Korsakov with their early compositional efforts?

Answer: Igor Stravinsky.


Question: Passage: Edmund Sharpe was born on 31 October 1809 at Brook Cottage, Brook Street in Knutsford, Cheshire, the first child of Francis and Martha Sharpe.  His father, a peripatetic music teacher and organist at Knutsford parish church, came from Stamford in Lincolnshire.  At the time of marriage his wife, Martha Whittaker, was on the staff of an academy for young ladies, Belvedere House, in Bath, Somerset. During his childhood in Knutsford, the young Edmund played with Elizabeth Stevenson, the future Mrs Gaskell. In 1812 the Sharpe family moved across town from Over Knutsford to a farm in Nether Knutsford called Heathside, when Francis Sharpe then worked as both farmer and music teacher.  Edmund was initially educated by his parents, but by 1818 he was attending a school in Knutsford.  Two years later he was a boarder at a school near Runcorn, and in 1821 at Burney's Academy in Greenwich. Edmund's father died suddenly in November 1823, aged 48, and his mother moved to Lancaster with her family, where she later resumed her teaching career.Edmund continued his education at Burney's Academy, and became head boy. In August 1827 he moved to Sedbergh School (then in the West Riding of Yorkshire, now in Cumbria), where he remained for two years. In November 1829 he entered St John's College, Cambridge as a Lupton scholar. At the end of his course in 1832 he was awarded a Worts Travelling Bachelorship by the University of Cambridge, which enabled him to travel abroad for three years' study.  At this time his friend from Lancaster at Trinity College, William Whewell, was Professor of Mineralogy. John Hughes, Edmund Sharpe's biographer, is of the opinion that Whewell was influential in gaining this award for Sharpe. Edmund graduated BA in 1833, and was admitted to the degree of MA in 1836. During his time abroad he travelled in Germany and southern France, studying Romanesque and early Gothic architecture. He had intended to travel further into northern France, but his tour was curtailed in Paris owing to "fatigue and illness". Edmund returned home to Lancaster late in 1835, having by then decided to become an architect. In December he wrote a letter to William Whewell saying that he had "finally determined to adopt the Profession of Architecture".  Some sources state that Sharpe was articled to the architect Thomas Rickman. Sharpe did visit Rickman for a few days in 1832 and corresponded with him later. He may have been "acting as a research assistant" while on the Continent, but Hughes states "there is no evidence to suggest that Sharpe spent more time with Rickman, or served any kind of formal apprenticeship with him". 
Question: What is the first name of the person who was a border at a school near Runcorn in 1820?

Answer: Edmund.


Question: Passage: Eakins referred to the painting as Swimming in 1885, and as The Swimmers in 1886. The title The Swimming Hole dates from 1917 (the year after Eakins died), when the work was so described by the artist's widow, Susan Macdowell Eakins. Four years later, she titled the work The Old Swimming Hole, in reference to the 1882 poem The Old Swimmin'-Hole; by James Whitcomb Riley. The Amon Carter Museum has since returned to Eakins' original title, Swimming.The painting shows Eakins and five friends or students bathing at Dove Lake, an artificial lake in Mill Creek outside Philadelphia. Each of the men is looking at the water, in the words of Martin A. Berger, "apparently lost in a contemplative moment". Eakins' precise rendering of the figures has enabled scholars to identify all those depicted in the work. They are (from left to right): Talcott Williams (1849–1928), Benjamin Fox (c. 1865 – c. 1900), J. Laurie Wallace (1864–1953), Jesse Godley (1862–1889), Harry the dog (Eakins' Irish Setter, c. 1880–90), George Reynolds (c. 1839–89), and Eakins himself. The rocky promontory on which several of the men rest is the foundation of the Mill Creek mill, which was razed in 1873. It is the only sign of civilization in the work—no shoes, clothes, or bath houses are visible. The foliage in the background provides a dark background against which the swimmers' skin tones contrast.
The positioning of the bodies and their musculature refers to classical ideals of physical beauty and masculine camaraderie evocative of Greek art. The reclining figure is a paraphrase of the Dying Gaul, and is juxtaposed with the far less formal self-depiction by the artist. It is possible that Eakins was seeking to reconcile an ancient theme with a modern interpretation; the subject was contemporary, but the poses of some of the figures recall those of classical sculpture. One possible influence by a contemporary source was Scène d'été, painted in 1869 by Frédéric Bazille (1841–70). It is not unlikely that Eakins saw the painting at the Salon while studying in Paris, and would have been sympathetic to its depiction of male bathers in a modern setting.In Eakins' oeuvre, The Swimming Hole was immediately preceded by a number of similar works on the Arcadian theme. These correspond to lectures he gave on Ancient Greek sculpture and were inspired by the Pennsylvania Academy's casts of Phidias' Pan-Athenaic procession from the Parthenon marbles. A series of photographs, relief sculptures, and oil sketches culminated in the 1883 Arcadia, a painting that also featured nude figures—posed for by a student, a nephew, and the artist's fiancée—in a pastoral landscape. 
Question: What painting did The Amon Carte Museum return to its orginal name?

Answer:
The Old Swimming Hole.