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 Input:
Passage: By the late 1950s, Covent Garden was gradually abandoning its policy of productions in the vernacular; such singers as Maria Callas would not relearn their roles in English. This made it easier for Tucker to point up the difference between the two London opera companies. While Covent Garden engaged international stars, Sadler's Wells focused on young British and Commonwealth performers. Colin Davis was appointed musical director in succession to Gibson in 1961. The repertoire continued to mix familiar and unfamiliar operas. Novelties in Davis's time included Pizzetti's Murder in the Cathedral, Stravinsky's Oedipus rex, Richard Rodney Bennett's The Mines of Sulphur and more Janáček. Sadler's Wells's traditional policy of giving all operas in English continued, with only two exceptions: Oedipus rex, which was sung in Latin, and Monteverdi's L'Orfeo, sung in Italian, for reasons not clear to the press. In January 1962, the company gave its first Gilbert and Sullivan opera, Iolanthe, on the day on which the Savoy operas came out of copyright and the D'Oyly Carte monopoly ended.  The production was well received (it was successfully revived for many seasons until 1978) and was followed by a production of The Mikado in May of the same year.The Islington theatre was by now clearly too small to allow the company to achieve any further growth. A study conducted for the Arts Council reported that in the late 1960s the two Sadler's Wells companies comprised 278 salaried performers and 62 guest singers. The company had experience of playing in a large West End theatre, such as its 1958 sell-out production of The Merry Widow that had transferred to the 2,351-seat London Coliseum for a summer season. Ten years later, the lease of the Coliseum became available.  Stephen Arlen, who had succeeded Tucker as managing director, was the primary advocate for moving the company. After intense negotiations and fund-raising, a ten-year lease was signed in 1968.  One of the company's last productions at the Islington theatre was Wagner's The Mastersingers, conducted by Goodall in 1968, which 40 years later was described by Gramophone magazine as "legendary". The company left Sadler's Wells with a revival of the work with which it had re-opened the theatre in 1945, Peter Grimes. Its last performance at the Rosebery Avenue theatre was on 15 June 1968. 
Question: What theatre did the Sadler's Wells company perform prior to 1968?

Ex Output:
Islington theatre.


Ex Input:
Passage: Bach's early cantatas are Choralkonzerte (chorale concertos) in the style of the 17th century, different from the recitative and aria cantata format associated with Neumeister that Bach started to use for church cantatas in 1714. Wolff points out the relation of Bach's early cantatas to works by Dieterich Buxtehude, with whom Bach had studied in Lübeck. Christ lag in Todes Banden shows similarities to a composition of Johann Pachelbel based on the same Easter chorale. Although there is no evidence that Bach and Pachelbel met, Bach grew up in Thuringia while Pachelbel was based in the same region, and Bach's elder brother and teacher Johann Christoph Bach studied with Pachelbel in Erfurt. Another of Pachelbel's works appears to be referenced in the early Bach cantata, Nach dir, Herr, verlanget mich, BWV 150, and there has been recent speculation that Bach wanted to pay tribute to Pachelbel after his death in 1706.The texts for the early cantatas were drawn mostly from biblical passages and hymns. Features characteristic of his later cantatas, such as recitatives and arias on contemporary poetry, were not yet present, although Bach may have heard them in oratorios by Buxtehude, or even earlier. Instead, these early cantatas include 17th-century elements such as motets and chorale concertos. They often begin with an instrumental sinfonia or sonata (sonatina). The following table lists the seven extant works composed by Bach until 1708, when he moved on to the Weimar court.
Bach uses the limited types of instruments at his disposal for unusual combinations, such as two recorders and two viole da gamba in the funeral cantata Gottes Zeit ist die allerbeste Zeit, also known as Actus Tragicus. He uses instruments of the continuo group as independent parts, such as a cello in Nach dir, Herr, verlanget mich and a bassoon in Der Herr denket an uns. The cantata for the inauguration of a town council is richly scored for trumpets, woodwinds and strings. Wolff notes:
The overall degree of mastery by which these early pieces compare favourably with the best church compositions from the first decade of the eighteenth century ... proves that the young Bach did not confine himself to playing organ and clavier, but, animated by his Buxtehude visit, devoted considerable time and effort to vocal composition. The very few such early works that exist, each a masterpiece in its own right, must constitute a remnant only ... of a larger body of similar compositions.
The Bach scholar Richard D. P. Jones notes in The Creative Development of Johann Sebastian Bach:
"His remarkable flair for text illustration is evident even in the early cantatas, particularly the two finest of them, the Actus tragicus, BWV 106, and Christ lag in Todes Banden, BWV 4. We already sense a powerful mind behind the notes in the motivic unity of the early cantatas, in the use of reprise to bind their mosaic forms together ...". 
Question: What often begin with an instrumental sinfonia or sonata?

Ex Output:
cantatas.


Ex Input:
Passage: Paul McCartney said he came up with the title "The Long and Winding Road" during one of his first visits to his property High Park Farm, near Campbeltown in Scotland, which he purchased in June 1966. The phrase was inspired by the sight of a road "stretching up into the hills" in the remote Highlands surroundings of lochs and distant mountains. He wrote the song at his farm in 1968, inspired by the growing tension among the Beatles. Based on other comments McCartney has made, author Howard Sounes writes, the lyrics can be seen as McCartney expressing his anguish at the direction of his personal life, as well as a nostalgic look back at the Beatles' history. McCartney recalled: "I just sat down at my piano in Scotland, started playing and came up with that song, imagining it was going to be done by someone like Ray Charles. I have always found inspiration in the calm beauty of Scotland and again it proved the place where I found inspiration."Once back in London, McCartney recorded a demo version of "The Long and Winding Road" during one of the recording sessions for The Beatles. Later, he offered the song to Tom Jones on the condition that the singer release it as his next single. In Jones' recollection, he was forced to turn it down since his record company were about to issue "Without Love" as a single.The song takes the form of a piano-based ballad, with conventional chord changes. McCartney described the chords as "slightly jazzy" and in keeping with Charles' style. The song's home key is E-flat major but it also uses the relative C minor. Lyrically, it is a sad and melancholic song, with an evocation of an as-yet unrequited, though apparently inevitable, love.
In an interview in 1994, McCartney described the lyric more obliquely: "It's rather a sad song. I like writing sad songs, it's a good bag to get into because you can actually acknowledge some deeper feelings of your own and put them in it. It's a good vehicle, it saves having to go to a psychiatrist."The opening theme is repeated throughout. The song lacks a traditional chorus, and the melody and lyrics are ambiguous about the opening stanza's position in the song; it is unclear whether the song has just begun, is in the verse, or is in the bridge. 
Question: What is the last name of the person who again found inspiration in Scotland?

Ex Output:

McCartney.