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.

[EX Q]: Passage: With the encouragement of his parents, Ravel applied for entry to France's most important musical college, the Conservatoire de Paris. In November 1889, playing music by Chopin, he passed the examination for admission to the preparatory piano class run by Eugène Anthiome. Ravel won the first prize in the Conservatoire's piano competition in 1891, but otherwise he did not stand out as a student.   Nevertheless, these years were a time of considerable advance in his development as a composer. The musicologist Arbie Orenstein writes that for Ravel the 1890s were a period "of immense growth ... from adolescence to maturity." 
In 1891 Ravel progressed to the classes of Charles-Wilfrid de Bériot, for piano, and Émile Pessard, for harmony. He made solid, unspectacular progress, with particular encouragement from Bériot but, in the words of the musical scholar Barbara L. Kelly, he "was only teachable on his own terms". His later teacher Gabriel Fauré understood this, but it was not generally acceptable to the conservative faculty of the Conservatoire of the 1890s. Ravel was expelled in 1895, having won no more prizes. His earliest works to survive in full are from these student days: Sérénade grotesque, for piano, and "Ballade de la Reine morte d'aimer", a mélodie setting a poem by Roland de Marès (both 1893).Ravel was never so assiduous a student of the piano as his colleagues such as Viñes and Cortot were. It was plain that as a pianist he would never match them, and his overriding ambition was to be a composer. From this point he concentrated on composition. His works from the period include the songs "Un grand sommeil noir" and "D'Anne jouant de l'espinette" to words by Paul Verlaine and Clément Marot, and the piano pieces Menuet antique and Habanera (for four-hands), the latter eventually incorporated into the Rapsodie espagnole. At around this time, Joseph Ravel introduced his son to Erik Satie, who was earning a living as a café pianist. Ravel was one of the first musicians – Debussy was another – who recognised Satie's originality and talent. Satie's constant experiments in musical form were an inspiration to Ravel, who counted them "of inestimable value". 
Question: What are the names of the two colleagues who it was plain that Ravel, as a pianist, would never match?
[EX A]: Viñes.

[EX Q]: Passage: Biographer Hannah Fink estimated that Oliver produced 290 works over a career of 22 years. Of these, public art works are Oliver's best known sculptures. These include Eyrie, created for Adelaide's Hyatt Hotel in 1993, and Magnolia and Palm, commissioned in 1999 by the Sydney Botanical Gardens, as part of the Sydney Sculpture Walk. That same year, Big Feathers was commissioned for the Queen Street Mall in Brisbane. It comprises two large feather-shaped forms suspended above the pedestrian precinct, representing "Queen Street's history of parades as well as the mall's connection between earth and sky".In 2000, Oliver's piece Entwine was a finalist in the inaugural Helen Lempriere National Sculpture Award, while in the following year, Oliver won the University of New South Wales inaugural sculpture commission competition, with her three-metre-high Globe. Other success followed, when Trace was selected for the National Gallery of Australia's 2002 National Sculpture Prize exhibition.In August 2002 she was one of five artists shortlisted by the Australian Government for a project to produce a public artwork celebrating the centenary of women's suffrage in Australia.By the 2000s most of Oliver's output constituted commissioned pieces, whether public or private. The most substantial of these is Vine, a 16.5 metre high sculpture installed as part of the $400 million refurbishment of the Sydney Hilton. Taking twelve months to create and requiring a budget of up to half million dollars, the work was completed in 2005. The sculpture was fabricated from 380 kilograms of aluminium, and assembled by a team of eight Croatian welders.By 2006, Oliver had held 18 solo exhibitions of her work, half of them at Roslyn Oxley9 Gallery, which represented her throughout her career as a sculptor. Only one of those solo exhibitions was held outside Australia: a 1992 exhibition at Auckland City Gallery. However, Oliver was represented in numerous international group shows, including five during the period 1983 to 1984, around the time she completed her master's degree in London. Four of the group shows at that time were in the United Kingdom; the fifth was at the Museum of Traditional Industries in Kyoto. Subsequent international group shows included 'Five Australian Artists' at Brest's Centre Culturale in 1988, the year she undertook an artist's residency in that city. Later group shows of which Oliver was part included 'Prospect '93' at the Frankfurter Kunstverein, 'Systems End: Contemporary Art in Australia', which exhibited in several east Asian galleries in 1996, and the Beijing International Biennale in 2003. 
Question: What is the name of the sculpture that was fabricated from 380 kilograms of aluminium, and assembled by a team of eight Croatian welders?
[EX A]: Vine.

[EX Q]: Passage: Charles-Camille Saint-Saëns (French: [ʃaʁlkamij sɛ̃sɑ̃s]; 9 October 1835 – 16 December 1921) was a French composer, organist, conductor and pianist of the Romantic era. His best-known works include Introduction and Rondo Capriccioso (1863), the Second Piano Concerto (1868), the First Cello Concerto (1872), Danse macabre (1874), the opera Samson and Delilah (1877), the Third Violin Concerto (1880), the Third ("Organ") Symphony (1886) and The Carnival of the Animals (1886).
Saint-Saëns was a musical prodigy; he made his concert debut at the age of ten. After studying at the Paris Conservatoire he followed a conventional career as a church organist, first at Saint-Merri, Paris and, from 1858, La Madeleine, the official church of the French Empire. After leaving the post twenty years later, he was a successful freelance pianist and composer, in demand in Europe and the Americas.
As a young man, Saint-Saëns was enthusiastic for the most modern music of the day, particularly that of Schumann, Liszt and Wagner, although his own compositions were generally within a conventional classical tradition. He was a scholar of musical history, and remained committed to the structures worked out by earlier French composers. This brought him into conflict in his later years with composers of the impressionist and dodecaphonic schools of music; although there were neoclassical elements in his music, foreshadowing works by Stravinsky and Les Six, he was often regarded as a reactionary in the decades around the time of his death.
Saint-Saëns held only one teaching post, at the École de Musique Classique et Religieuse in Paris, and remained there for less than five years. It was nevertheless important in the development of French music: his students included Gabriel Fauré, among whose own later pupils was Maurice Ravel. Both of them were strongly influenced by Saint-Saëns, whom they revered as a genius. 
Question: What were the names of the pupils who revered Saint-Saëns as a genius?
[EX A]:
Gabriel Fauré.