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: During Leopold's illness performances were impossible, so Wolfgang turned to composition. According to the writer and musician Jane Glover, Wolfgang was inspired to write symphonies after meeting Johann Christian Bach. It is not clear when this meeting occurred, or when Wolfgang first heard J. C. Bach's symphonies, although he had played the older composer's harpsichord works in his May 1764 royal recital. Wolfgang soon completed his Symphony No. 1 in E flat, K. 16, and started his No. 4 in D major, K. 19 (which Zaslaw concludes was more likely composed, or at least completed, in The Hague). The D major symphony has, in Hildesheimer's words, "an originality of melody and modulation which goes beyond the routine methods of his [grown-up] contemporaries". These are Wolfgang's first orchestral writings, although Zaslaw hypothesises a theoretical "Symphony No. 0" from sketches in Wolfgang's musical notebook. Three lost symphonies, identified in the Köchel catalogue of Mozart's works only by their incipits (first few bars of music), may also have originated from the London period. Other works composed by Wolfgang in London include several instrumental sonatas, the jewel of which, according to Hildesheimer, is the C major sonata for piano, four hands, K. 19d. A set of violin sonatas, with extra flute and cello parts, was dedicated to Queen Charlotte at her request, and presented to her with an appropriate inscription in January 1765. Wolfgang also wrote his first vocal works, the motet "God is our Refuge", K. 20, and the tenor aria Va, dal furor portata, K. 21. 
Question: What was the last name of the older composer who Wolfgang played their harpsichord works in his May 1764 royal recital?

A: Bach.
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Q: Passage: Colour lies at the heart of Messiaen's music. He believed that terms such as "tonal", "modal" and "serial" are misleading analytical conveniences. For him there were no modal, tonal or serial compositions, only music with or without colour. He said that Claudio Monteverdi, Mozart, Chopin, Richard Wagner, Mussorgsky and Stravinsky all wrote strongly coloured music.In some of Messiaen's scores, he notated the colours in the music (notably in Couleurs de la cité céleste and Des canyons aux étoiles...)—the purpose being to aid the conductor in interpretation rather than to specify which colours the listener should experience. The importance of colour is linked to Messiaen's synaesthesia, which he said caused him to experience colours when he heard or imagined music (he said that he did not perceive the colours visually). In his multi-volume music theory treatise Traité de rythme, de couleur, et d'ornithologie ("Treatise of Rhythm, Colour and Birdsong"), Messiaen wrote descriptions of the colours of certain chords. His descriptions range from the simple ("gold and brown") to the highly detailed ("blue-violet rocks, speckled with little grey cubes, cobalt blue, deep Prussian blue, highlighted by a bit of violet-purple, gold, red, ruby, and stars of mauve, black and white. Blue-violet is dominant").When asked what Messiaen's main influence had been on composers, George Benjamin said, "I think the sheer ... colour has been so influential, ... rather than being a decorative element, [Messiaen showed that colour] could be a structural, a fundamental element, ... the fundamental material of the music itself.". 
Question: What is the name of the person who said Monteverdi, Mozart, Chopin, Wagner, Mussorgsky, and Stravinsky all wrote strongly coloured music?

A: Messiaen.
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Q: Passage: Although the publicity generated by Five Leaves Left was minor, Boyd was keen to build on what momentum there was. Drake's second album, 1971's Bryter Layter, again produced by Boyd and engineered by John Wood, introduced a more upbeat, jazzier sound.Disappointed by his debut's poor commercial performance, Drake sought to move away from his pastoral sound, and agreed to Boyd's suggestions to include bass and drum tracks. "It was more of a pop sound, I suppose," Boyd later said. "I imagined it as more commercial." Like its predecessor, the album featured musicians from Fairport Convention, as well as contributions from John Cale on two songs: "Northern Sky" and "Fly". Trevor Dann noted that while sections of "Northern Sky" sound more characteristic of Cale, the song was the closest Drake came to a release with chart potential. Cale used heroin during this period, and his older friend Brian Wells suspected that Drake was also using.Boyd and Wood were confident that Bryter Layter would be a success, but it sold fewer than 3,000 copies. Reviews were again mixed: while Record Mirror praised Drake as a "beautiful guitarist—clean and with perfect timing, [and] accompanied by soft, beautiful arrangements", Melody Maker described the album as "an awkward mix of folk and cocktail jazz".Soon after its release, Boyd sold Witchseason to Island Records, and moved to Los Angeles to work with Warner Brothers to develop film soundtracks. The loss of his mentor, coupled with the album's poor sales, led Drake into further depression. His attitude to London had changed: he was unhappy living alone, and visibly nervous and uncomfortable performing at a series of concerts in early 1970. In June, Drake gave one of his final live appearances at Ewell Technical College, Surrey. Ralph McTell, who also performed that night, remembered: "Nick was monosyllabic. At that particular gig he was very shy. He did the first set and something awful must have happened. He was doing his song 'Fruit Tree' and walked off halfway through it."In 1971, Drake's family persuaded him to visit a psychiatrist at St Thomas's Hospital, London. He was prescribed antidepressants, but felt uncomfortable and embarrassed about taking them, and tried to hide the fact from his friends. He worried about their side effects and was concerned about how they would react with his regular cannabis use.Island Records urged Drake to promote Bryter Layter through interviews, radio sessions and live appearances. Drake, who by this time was smoking what Kirby described as "unbelievable amounts" of cannabis and exhibiting "the first signs of psychosis", refused. Disappointed by the reaction to Bryter Layter, he turned his thoughts inwards, and withdrew from family and friends. He rarely left his flat, and then only to play an occasional concert or to buy drugs. His sister recalled: "This was a very bad time. He once said to me that everything started to go wrong from [this] time on, and I think that was when things started to go wrong.". 
Question: What is the first name of the person who used heroin during this period?

A:
John.
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