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.

Passage: In June 1911, as part of the celebrations surrounding the coronation of King George V, Elgar was appointed to the Order of Merit, an honour limited to twenty-four holders at any time. The following year, the Elgars moved back to London, to a large house in Netherhall Gardens, Hampstead, designed by Norman Shaw. There Elgar composed his last two large-scale works of the pre-war era, the choral ode, The Music Makers (for the Birmingham Festival, 1912) and the symphonic study Falstaff (for the Leeds Festival, 1913). Both were received politely but without enthusiasm. Even the dedicatee of Falstaff, the conductor Landon Ronald, confessed privately that he could not "make head or tail of the piece," while the musical scholar Percy Scholes wrote of Falstaff that it was a "great work" but, "so far as public appreciation goes, a comparative failure."When World War I broke out, Elgar was horrified at the prospect of the carnage, but his patriotic feelings were nonetheless aroused. He composed "A Song for Soldiers", which he later withdrew. He signed up as a special constable in the local police and later joined the Hampstead Volunteer Reserve of the army. He composed patriotic works, Carillon, a recitation for speaker and orchestra in honour of Belgium, and Polonia, an orchestral piece in honour of Poland. Land of Hope and Glory, already popular, became still more so, and Elgar wished in vain to have new, less nationalistic, words sung to the tune.
By contrast, the remaining work, the Cello Concerto in E minor, had a disastrous premiere, at the opening concert of the London Symphony Orchestra's 1919–20 season in October 1919. Apart from the Elgar work, which the composer conducted, the rest of the programme was conducted by Albert Coates, who overran his rehearsal time at the expense of Elgar's. Lady Elgar wrote, "that brutal selfish ill-mannered bounder ... that brute Coates went on rehearsing." The critic of The Observer, Ernest Newman, wrote, "There have been rumours about during the week of inadequate rehearsal. Whatever the explanation, the sad fact remains that never, in all probability, has so great an orchestra made so lamentable an exhibition of itself. ... The work itself is lovely stuff, very simple – that pregnant simplicity that has come upon Elgar's music in the last couple of years – but with a profound wisdom and beauty underlying its simplicity." Elgar attached no blame to his soloist, Felix Salmond, who played for him again later, including at the inaugural concert of the City of Birmingham Orchestra (later City of Birmingham Symphony Orchestra), which Elgar conducted. In contrast with the First Symphony and its hundred performances in just over a year, the Cello Concerto did not have a second performance in London for more than a year.
What are the exact titles of the two separate works that were both received politely but without enthusiasm?

Passage: There are two major valleys in the park, Death Valley and Panamint Valley. Both of these valleys were formed within the last few million years and both are bounded by north–south-trending mountain ranges. These and adjacent valleys follow the general trend of Basin and Range topography with one modification: there are parallel strike-slip faults that perpendicularly bound the central extent of Death Valley. The result of this shearing action is additional extension in the central part of Death Valley which causes a slight widening and more subsidence there.
Uplift of surrounding mountain ranges and subsidence of the valley floor are both occurring. The uplift on the Black Mountains is so fast that the alluvial fans (fan-shaped deposits at the mouth of canyons) there are small and steep compared to the huge alluvial fans coming off the Panamint Range. Fast uplift of a mountain range in an arid environment often does not allow its canyons enough time to cut a classic V-shape all the way down to the stream bed. Instead, a V-shape ends at a slot canyon halfway down, forming a 'wine glass canyon.'  Sediment is deposited on a small and steep alluvial fan.
At 282 feet (86 m) below sea level at its lowest point, Badwater Basin on Death Valley's floor is the second-lowest depression in the Western Hemisphere (behind Laguna del Carbón in Argentina), while Mount Whitney, only 85 miles (137 km) to the west, rises to 14,505 feet (4,421 m). This topographic relief is the greatest elevation gradient in the contiguous United States and is the terminus point of the Great Basin's southwestern drainage. Although the extreme lack of water in the Great Basin makes this distinction of little current practical use, it does mean that in wetter times the lake that once filled Death Valley (Lake Manly) was the last stop for water flowing in the region, meaning the water there was saturated in dissolved materials. Thus the salt pans in Death Valley are among the largest in the world and are rich in minerals, such as borax and various salts and hydrates. The largest salt pan in the park extends 40 miles (64 km) from the Ashford Mill Site to the Salt Creek Hills, covering some 200 square miles (520 km2) of the valley floor. The best known playa in the park is the Racetrack, known for its moving rocks.
What is the lowest point of Death Valley?

Passage: Throughout 1989 the Orb, along with Martin Glover, developed a music production style that incorporated ambient music with a diverse array of samples and recordings. The British music press later labelled the music ambient house. The culmination of the group's musical work came toward the end of the same year when they recorded a session for John Peel on BBC Radio 1. The track, then known as "Loving You," was largely improvisational and featured a wealth of sound effects and samples from science fiction radio plays, nature sounds, and Minnie Riperton's "Lovin' You". For its release as a single on the record label Big Life, the Orb changed the title to "A Huge Ever Growing Pulsating Brain That Rules from the Centre of the Ultraworld". Upon the single's release, Riperton's management forced Big Life to remove the unlicensed Riperton sample, ensuring that only the initial first-week release of the single contained the original vocals of Minnie Riperton; subsequent pressings used vocals from a sound-alike. Despite its running time of 22 minutes, the sample-laden single reached #78 on the British singles charts. Soon thereafter, the Orb were commissioned by Dave Stewart to remix his top-20 single "Lily Was Here". The group obliged and were soon offered several more remix jobs from artists including Erasure and System 7.
In 1990, Paterson and Cauty held several recording sessions at Cauty's studio, Trancentral. When offered an album deal by Big Life, the Orb found themselves at a crossroads: Cauty preferred that the Orb release their music through his KLF Communications label, whereas Paterson wanted to ensure that the group did not become a side-project of the KLF. Because of these issues, Cauty and Paterson split in April 1990, with Paterson keeping the name the Orb. As a result of the break-up, Cauty removed Paterson's contributions from the in-progress recordings and released the album as Space on KLF Communications. Also out of these sessions came the KLF album Chill Out, on which Paterson appeared in an uncredited role.Following the split, Paterson began working with Youth on the track "Little Fluffy Clouds". The group incorporated samples from Steve Reich's Electric Counterpoint.  The signature of the piece centres around the repeated phrases sampled from the voice of singer/songwriter Rickie Lee Jones, her spaced-out childlike ramble taken from a promotional CD released by Geffen records for her 1989 Flying Cowboys CD.  In it she muses on the picturesque images of clouds from her Arizona childhood.

What was the original title of the song that was released as a single on the record label Big Life?