instruction:
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: A five-movement ballet occurred somewhere in Act II, staged by W. H. Payne. A heading in the libretto, "Chorus and Ballet", attaches it to the last section of the finale but does not indicate how it figured in the plot. Most press accounts placed it at about this point, although some placed it slightly earlier in the act. At some performances, the ballet was performed in Act I, but it was certainly in Act II on opening night, and it seems finally to have settled there.In 1990, Roderick Spencer and Selwyn Tillett discovered the ballet from Act II of Thespis. Two of the five movements, in the same hand that had copied the score of "Climbing over rocky mountain", were found together with the surviving performance materials for Sullivan's 1864 ballet, L'Île Enchantée. Another section was found in the material for his 1897 ballet, Victoria and Merrie England. The page numbering of the surviving three sections gave approximate lengths for the missing pieces, and a contemporary engraving, seen at left, along with other circumstantial evidence, allowed plausible identifications of the two remaining movements: a dragon costume, used nowhere in the libretto, is presumably from the ballet, and the harp visible in the orchestra pit was an unusual instrument for the Gaiety's orchestra. Movements of appropriate length that made sense of these oddities were found in Sullivan's other ballets, and the reconstructed ballet has been recorded twice on CD.
Sullivan tended to re-use his ballet music. Of the five movements that Tillett and Spencer identified, only one (the Waltz, No. 3) is not known to have been used in any other work. Three of the movements had previously been used in L'Île Enchantée. Two of those, and one other, were eventually re-used in Victoria and Merrie England. One was also used in his incidental music to Macbeth. Sullivan was asked in 1889 to supply a ballet for a French-language production of The Mikado in Brussels, which he duly did. Tillett suggests that the Thespis ballet was almost certainly the music that Sullivan provided, given that it was the only ballet that he wrote for use in an opera, and that three weeks after producing The Gondoliers he is unlikely to have written something original. 
Question: What were the name of the two movements discovered by Spencer and Tillett?
answer:
Climbing over rocky mountain.


question:
Passage: The yellowhammer is a conspicuous, vocal and formerly common country bird, and has attracted human interest. Yellowham Wood and Yellowham Hill, near Dorchester, both derive their names from the bird. Robbie Burns' poem "The Yellow, Yellow Yorlin'" gets its title from a Scottish name for the yellowhammer, which is given an obvious sexual connotation: I met a pretty maid, an' unto her I said,/ "I wad fain fin' your yellow, yellow yorlin'." More factual descriptions of the bird and its behaviour can be found in John Clare's "The Yellowhammer's Nest" and "The Yellowhammer", whose final lines read:
Enid Blyton helped to popularise the bird's song as "little bit of bread and no cheese" in books such as The Ship of Adventure and Five Go Off in a Caravan, and wrote a poem called "The Yellow-hammer".
Beethoven's student, Carl Czerny, and biographer Anton Schindler, both suggested that the composer got the idea for the first four notes of his 5th symphony from the yellowhammer's call, although it is more likely that the opening of the 4th Piano Concerto was actually the work in question. Beethoven also used the yellowhammer theme in two piano sonatas, no. 21 in C major (the "Waldstein", Op.53) and No. 23 in F minor (the "Appassionata", Op.57).Olivier Messiaen often used birdsong as an inspiration for his music, and the yellowhammer features in Chronochromie, Catalogue d'oiseaux, La fauvette des jardins and Méditations sur le mystère de la Sainte Trinité, appearing in four movements of the last piece.An old legend links the yellowhammer to the Devil. Its tongue was supposed to bear a drop of his blood, and the intricate pattern on the eggs was said to carry a concealed, possibly evil, message; these satanic associations sometimes led to the persecution of the bird. The unusual appearance of the eggs also led to "scribble lark", an old name for the bird. 
Question: What are the names of the two piano sonatas Beethoven used the yellowhammer theme in?
answer:
no. 21 in C major.


question:
Passage: The name "Tadmor" is known from the early second millennium BC; eighteenth century BC tablets from Mari written in cuneiform record the name as "Ta-ad-mi-ir", while Assyrian inscriptions of the eleventh century BC record it as Ta-ad-mar. Aramaic Palmyrene inscriptions themselves showed two variants of the name; TDMR (i.e. Tadmar) and TDMWR (i.e. Tadmor). The etymology of the name is unclear; the standard interpretation, supported by Albert Schultens, connects it to the Semitic word for "date palm", tamar (תמר), thus referring to the palm trees that surrounded the city.The Greek name Παλμύρα (Latinized Palmyra) is first recorded by Pliny the Elder in the 1st century AD. It was used throughout the Greco-Roman world. It is generally believed that "Palmyra" derives from "Tadmor" and two possibilities have been presented by linguists; one view holds that Palmyra was an alteration of Tadmor. According to the suggestion by Schultens, "Palmyra" could have arisen as a corruption of "Tadmor", via an unattested form "Talmura", changed to "Palmura" by influence of the Latin word palma (date "palm"), in reference to the city's palm trees, then the name reached its final form "Palmyra". The second view, supported by some philologists, such as Jean Starcky, holds that Palmyra is a translation of "Tadmor" (assuming that it meant palm), which had derived from the Greek word for palm, "Palame".An alternative suggestion connects the name to the Syriac tedmurtā (ܬܕܡܘܪܬܐ) "miracle", hence tedmurtā "object of wonder", from the root dmr "to wonder"; this possibility was mentioned favourably by Franz Altheim and Ruth Altheim-Stiehl (1973), but rejected by Jean Starcky (1960) and Michael Gawlikowski (1974). Michael Patrick O'Connor (1988) suggested that the names "Palmyra" and "Tadmor" originated in the Hurrian language. As evidence, he cited the inexplicability of alterations to the theorized roots of both names (represented in the addition of -d- to tamar and -ra- to palame). According to this theory, "Tadmor" derives from the Hurrian word tad ("to love") with the addition of the typical Hurrian mid vowel rising (mVr) formant mar. Similarly, according to this theory, "Palmyra" derives from the Hurrian word pal ("to know") using the same mVr formant (mar). 
Question: Which name was used throughout the Greco-Roman world?
answer:

Παλμύρα (Latinized Palmyra).