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: On 18 February 1914 The Rite received its first concert performance (the music without the ballet), in St Petersburg under Serge Koussevitzky. On 5 April that year, Stravinsky experienced for himself the popular success of The Rite as a concert work, at the Casino de Paris. After the performance, again under Monteux, the composer was carried in triumph from the hall on the shoulders of his admirers. The Rite had its first British concert performance on 7 June 1921, at the Queen's Hall in London under Eugene Goossens. Its American premiere occurred on 3 March 1922, when  Stokowski included it in a Philadelphia Orchestra programme. Goossens was also responsible for introducing The Rite to Australia on 23 August 1946 at the Sydney Town Hall, as guest conductor of the Sydney Symphony Orchestra.Stravinsky first conducted the work in 1926, in a concert given by the Concertgebouw Orchestra in Amsterdam; two years later he brought it to the Salle Pleyel in Paris for two performances under his baton. Of these occasions he later wrote that "thanks to the experience I had gained with all kinds of orchestras ... I had reached a point where I could obtain exactly what I wanted, as I wanted it". Commentators have broadly agreed that the work has had a greater impact in the concert hall than it has on the stage; many of Stravinsky's revisions to the music were made with the concert hall rather than the theatre in mind. The work has become a staple in the repertoires of all the leading orchestras, and has been cited by Leonard Bernstein as "the most important piece of music of the 20th century".In 1963, 50 years after the premiere, Monteux (then aged 88) agreed to conduct a commemorative performance at London's Royal Albert Hall. According to Isaiah Berlin, a close friend of the composer, Stravinsky informed him that he had no intention of hearing his music being "murdered by that frightful butcher". Instead he arranged tickets for that particular evening's performance of Mozart's opera The Marriage of Figaro, at Covent Garden. Under pressure from his friends, Stravinsky was persuaded to leave the opera after the first act. He arrived at the Albert Hall just as the performance of The Rite was ending; composer and conductor shared a warm embrace in front of the unaware, wildly cheering audience. Monteux's biographer John Canarina provides a different slant on this occasion, recording that by the end of the evening Stravinsky had asserted that "Monteux, almost alone among conductors, never cheapened Rite or looked for his own glory in it, and he continued to play it all his life with the greatest fidelity". 
Question: What is the last name of the person who Stravinsky told he had no intention of hearing his music being "murdered by that frightful butcher?"?

A: Berlin.
****
Q: Passage: The Tang dynasty was largely a period of progress and stability in the first half of the dynasty's rule, until the devastating An Lushan Rebellion (755-763) and the decline of central authority in the later half of the dynasty. Like the previous Sui dynasty, the Tang dynasty maintained a civil-service system by recruiting scholar-officials through standardized examinations and recommendations to office.  The rise of regional military governors known as jiedushi during the 9th century undermined this civil order.  Chinese culture flourished and further matured during the Tang era; it is traditionally considered the greatest age for Chinese poetry.  Two of China's most famous poets, Li Bai and Du Fu, belonged to this age, as did many famous painters such as Han Gan, Zhang Xuan, and Zhou Fang.  Scholars of this period compiled a rich variety of historical literature, as well as encyclopedias and geographical works. The adoption of the title Tängri Qaghan by the Tang Emperor Taizong in addition to his title as emperor was eastern Asia's first "simultaneous kingship".Many notable innovations occurred under the Tang, including the development of woodblock printing.  Buddhism became a major influence in Chinese culture, with native Chinese sects gaining prominence.  However, in the 840s the Emperor Wuzong of Tang enacted policies to persecute Buddhism, which subsequently declined in influence. Although the dynasty and central government had gone into decline by the 9th century, art and culture continued to flourish. The weakened central government largely withdrew from managing the economy, but the country's mercantile affairs stayed intact and commercial trade continued to thrive regardless. However, agrarian rebellions in the latter half of the 9th century resulted in damaging atrocities such as the Guangzhou massacre of 878–879. 
Question: Under what dynasty were the jiedushi created?

A: Tang dynasty.
****
Q: Passage: Given the standings of the two men, the painting was received in both social and political terms. A number of writers mentioned Bertin's eventful career, in tones that were, according to art historian Andrew Carrington Shelton, either "bitingly sarcastic [or] fawningly reverential". There were many satirical reproductions and pointed editorials in the following years. Aware of Bertin's support of the July Monarchy, writers at the La Gazette de France viewed the portrait as the epitome of the "opportunism and cynicism" of the new regime. Their anonymous critic excitedly wondered "what bitter irony it expresses, what hardened skepticism, sarcasm and ... pronounced cynicism".Several critics mentioned Bertin's hands. Twentieth-century art historian Albert Boime described them as "powerful, vulturine ... grasping his thighs in a gesture ... projecting ... enormous strength controlled". Some contemporary critics were not so kind. The photographer and critic Félix Tournachon was harshly critical, and disparaged what he saw as a "fantastical bundle of flesh ... under which, instead of bones and muscles, there can only be intestines – this flatulent hand, the rumbling of which I can hear!" Bertin's hands made a different impression on the critic F. de Lagenevais, who remarked: "A mediocre artist would have modified them, he would have replaced those swollen joints with the cylindrical fingers of the first handy model; but by this single alteration he would have changed the expression of the whole personality ... the energetic and mighty nature".The work's realism attracted a large amount of commentary when it was first exhibited. Some saw it as an affront to Romanticism, others said that its small details not only showed an acute likeness, but built a psychological profile of the sitter. Art historian Geraldine Pelles sees Bertin as "at once intense, suspicious, and aggressive". She notes that there is a certain amount of projection of the artist's personality and recalls Théophile Silvestre's description of Ingres; "There he was squarely seated in an armchair, motionless as an Egyptian god carved of granite, his hands stretched wide over parallel knees, his torso stiff, his head haughty". Some compared it to Balthasar Denner, a German realist painter influenced by Jan van Eyck. Denner, in the words of Ingres scholar Robert Rosenblum, "specialised in recording every last line on the faces of aged men and women, and even reflections of windows in their eyes." The comparison was made by Ingres' admirers and detractors alike. In 1833, Louis de Maynard of the Collège-lycée Ampère, writing in the influential L'Europe littéraire, dismissed Denner as a weak painter concerned with hyperrealistic "curiosities", and said that both he and Ingres fell short of the "sublime productions of Ingres' self-proclaimed hero, Raphael."The following year Ingres sought to capitalise on the success of his Bertin portrait. He showed his ambitious history painting The Martyrdom of Saint Symphorian at the 1834 Salon, but it was harshly criticised; even Ingres' admirers offered only faint praise. Offended and frustrated, Ingres declared he would disown the Salon, abandon his residence in Paris for Rome, and relinquish all current positions, ending his role in public life. This petulance was not to last.Bertin bequeathed the portrait to his daughter Louise (1805–1877) on his death. She passed it to her niece Marie-Louise-Sophie Bertin (1836–1893) wife of Jules Bapst, a later director of the Journal des débats. They bequeathed it to their niece Cécile Bapst, its last private owner. In 1897 Cécile sold it to the Musée du Louvre for 80,000 francs. 
Question: What were the full names of the people who had a niece named Cécile Bapst?

A:
Jules Bapst.
****