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.

Q: Passage: The first three symphonies, to which Vaughan Williams assigned titles rather than numbers, form a sub-group within the nine, having programmatic elements, absent from the later six.A Sea Symphony (1910), the only one of the series to include a part for full choir, differs from most earlier choral symphonies in that the choir sings in all the movements. The extent to which it is a true symphony has been debated; in a 2013 study, Alain Frogley describes it as a hybrid work, with elements of symphony, oratorio and cantata. Its sheer length—about eighty minutes—was unprecedented for an English symphonic work, and within its thoroughly tonal construction it contains harmonic dissonances that pre-echo the early works of Stravinsky which were soon to follow.A London Symphony (1911–1913) which the composer later observed might more accurately be called a "symphony by a Londoner", is for the most part not overtly pictorial in its presentation of London. Vaughan Williams insisted that it is "self-expressive, and must stand or fall as 'absolute' music". There are some references to the urban soundscape: brief impressions of street music, with the sound of the barrel organ mimicked by the orchestra; the characteristic chant of the lavender-seller; the jingle of hansom cabs; and the chimes of Big Ben played by harp and clarinet. But commentators have heard—and the composer never denied or confirmed—some social comment in sinister echoes at the end of the scherzo and an orchestral outburst of pain and despair at the opening of the finale. Schwartz comments that the symphony, in its "unified presentation of widely heterogeneous elements", is "very much like the city itself". Vaughan Williams said in his later years that this was his favourite of the symphonies.The last of the first group is A Pastoral Symphony (1921). The first three movements are for orchestra alone; a wordless solo soprano or tenor voice is added in the finale. Despite the title the symphony draws little on the folk-songs beloved of the composer, and the pastoral landscape evoked is not a tranquil English scene, but the French countryside ravaged by war. Some English musicians who had not fought in the First World War misunderstood the work and heard only the slow tempi and quiet tone, failing to notice the character of a requiem in the music and mistaking the piece for a rustic idyll. Kennedy comments that it was not until after the Second World War that "the spectral 'Last Post' in the second movement and the girl's lamenting voice in the finale" were widely noticed and understood. 
Question: What is the title of the symphony that draws little on the folk-songs beloved by the composer?

A: A Pastoral Symphony.
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Q: Passage: At the court in Ferrara, a collection of ladies skilled in music inspired the composer Luzzasco Luzzaschi and caught the Duke's interest. This group, which led to the formation of the concerto delle donne, performed within the context of the Duke's musica secreta, a regular series of chamber music concerts performed for an exclusive audience. This preliminary group was originally made up of talented but amateur members of the court: the sisters Lucrezia and Isabella Bendidio, Leonora Sanvitale, and Vittoria Bentivoglio. They were joined by bass Giulio Cesare Brancaccio, who was specifically brought to the court in 1577 for his singing ability. The preliminary ensemble was active throughout the 1570s, and its membership solidified in 1577. Only later did professionals replace these original singers.
The Duke did not announce the creation of a professional, all-female ensemble; instead, the group infiltrated and gradually dominated the musica secreta, so that after the dismissal of Brancaccio for insubordination in 1583, no more male members of the musica secreta were hired. Even when Brancaccio was performing with the consort it was referred to as a ladies' ensemble, because women singing together was the most exciting aspect of the group. This new ensemble, the concerto delle donne, was created by Alfonso in part to amuse his young new wife, Margherita Gonzaga d'Este (she was only fourteen when they wed in 1579), and in part to help the Duke achieve his artistic goals for the court. According to Grana, a contemporary correspondent, "Signora Machiavella [Lucrezia], Signora Isabella, and Signora Vittoria have abandoned the field, having lost the backing of Luzzaschi". The first recorded performance by the professional ladies was on November 20, 1580; by carnival season in 1581, they were performing together regularly.This new "consort of ladies" was viewed as an extraordinary and novel phenomenon; most witnesses did not connect the second period of the concerto delle donne with the group of ladies who sang in the musica secreta. Today, however, the earlier group is viewed as a crucial part of the creation and development of the social and vocal genre of the concerto delle donne. 
Question: What were the first names of the two sisters in the original preliminary group?

A: Lucrezia.
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Q: Passage: The plot of Darfur revolves around six Western journalists who visit a small village in Darfur in western Sudan under the escort of a squad of troops of the African Union peacekeeping mission. When they learn the brutal state sponsored militia called the Janjaweed are heading towards the village, they are faced with an impossible decision: leave Sudan and report the atrocities to the world, or risk their own lives and stay in the hopes of averting a certain slaughter.
While most of them flee back to their base, two of the journalists, Freddie Smith, and Theo Schwartz, decide to stay behind along with the Nigerian commander of the AU unit, Captain Jack Tobamke, to try to save the villagers when the Arab Janjaweed enter the village and begin to indiscriminately kill all the Black African men, women, and children. Despite their efforts to save some villagers, Captain Tobamke, Theo, and Freddie are all killed one by one in the subsequent shootout with the Janjaweed, but not before killing or wounding a few dozen of the savage militia. The surviving Janjaweed then burn the village to the ground and move on, presumably to continue their genocide rampage across the Darfur landscape.
The final scene shows the female member of the journalist team, Malin Lausberg, who had fled with most of the other reporters and AU soldiers during the Janjaweed attack, now return to the destroyed village the next day with a group of AU soldiers only to find everyone dead, including two of her colleagues. But she finds an infant that Freddie protected by hiding under Theo's dead body as the sole survivor of the massacre. Malin takes the baby with her as she and the rest of the AU troops leave the destroyed village behind. 
Question: What is the first name of the person that the two journalists stay behind with?

A:
Jack.
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