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.

Ex Input:
Passage: During the 1750s  Messiah was performed increasingly at festivals and cathedrals throughout the country. Individual choruses and arias were occasionally extracted for use as anthems or motets in church services, or as concert pieces, a practice that grew in the 19th century and has continued ever since. After Handel's death, performances were given in Florence (1768), New York (excerpts, 1770), Hamburg (1772), and Mannheim (1777), where Mozart first heard it. For the performances in Handel's lifetime and in the decades following his death, the musical forces used in the Foundling Hospital performance of 1754 are thought by Burrows to be typical. A fashion for large-scale performances began in 1784, in a series of commemorative concerts of Handel's music given in Westminster Abbey under the patronage of King George III. A plaque on the Abbey wall records that "The Band consisting of DXXV [525] vocal & instrumental performers was conducted by Joah Bates Esqr." In a 1955 article, Sir Malcolm Sargent, a proponent of large-scale performances, wrote, "Mr Bates ... had known Handel well and respected his wishes. The orchestra employed was two hundred and fifty strong, including twelve horns, twelve trumpets, six trombones and three pairs of timpani (some made especially large)." In 1787 further performances were given at the Abbey; advertisements promised, "The Band will consist of Eight Hundred Performers".In continental Europe, performances of Messiah were departing from Handel's practices in a different way: his score was being drastically reorchestrated to suit contemporary tastes. In 1786, Johann Adam Hiller presented Messiah with updated scoring in Berlin Cathedral. In 1788 Hiller presented a performance of his revision with a choir of 259 and an orchestra of 87 strings, 10 bassoons, 11 oboes, 8 flutes, 8 horns, 4 clarinets, 4 trombones, 7 trumpets, timpani, harpsichord and organ. In 1789, Mozart was commissioned by Baron Gottfried van Swieten and the Gesellschaft der Associierten to re-orchestrate several works by Handel, including  Messiah (Der Messias). Writing for a small-scale performance, he eliminated the organ continuo, added parts for flutes, clarinets, trombones and horns, recomposed some passages and rearranged others. The performance took place on 6 March 1789 in the rooms of Count Johann Esterházy, with four soloists and a choir of 12. Mozart's arrangement, with minor amendments from Hiller, was published in 1803, after his death. The musical scholar Moritz Hauptmann described the Mozart additions as "stucco ornaments on a marble temple". Mozart himself was reportedly circumspect about his changes, insisting that any alterations to Handel's score should not be interpreted as an effort to improve the music. Elements of this version later became familiar to British audiences, incorporated into editions of the score by editors including Ebenezer Prout.

Ex Output:
What did Mozart hear in Mannheim?


Ex Input:
Passage: In early 1969, Quaife told the band he was leaving. The other members did not take his statement seriously, until an article appeared in New Musical Express on 4 April featuring Quaife's new band, Maple Oak, which he had formed without telling the rest of the Kinks. Ray Davies pleaded with him to return for the sessions for their upcoming album, but Quaife refused. Davies immediately called up John Dalton, who had filled in for Quaife in the past, as a replacement. Dalton remained with the group until 1977, when the album Sleepwalker was released.Ray Davies travelled to Los Angeles in April 1969 to help negotiate an end to the American Federation of Musicians' ban on the group, opening up an opportunity for them to return to touring in the US. The group's management quickly made plans for a North American tour, to help restore their standing in the US pop music scene. Before their return to the US, the Kinks recorded another album, Arthur (Or the Decline and Fall of the British Empire). As with the previous two albums, Arthur was grounded in characteristically English lyrical and musical hooks. A modest commercial success, it was well received by American music critics. Conceived as the score for a proposed but unrealised television drama, much of the album revolved around themes from the Davies brothers' childhood; their sister Rosie, who had migrated to Australia in the early 1960s with her husband, Arthur Anning, the album's namesake; and life growing up during the Second World War. The Kinks embarked on their tour of the US in October 1969. The tour was generally unsuccessful, as the group struggled to find cooperative promoters and interested audiences; many of the scheduled concert dates were cancelled. The band did, however, manage to play a few major venues such as the Fillmore East and Whisky a Go Go.

Ex Output:
What is the first name of the person who called John Dalton as a replacement?


Ex Input:
Passage: During the first half of the 17th century, Swedish warships were built in the Dutch manner, with a flat, rectangular bottom with a small draft. This shipbuilding style was adapted mainly for smaller ships in the shallow coastal waters of the Netherlands, and allowed for quick construction, but these less sturdy vessels were generally unsuitable as warships and somewhat unstable in rough seas. When Kronan was built, the English approach to building had prevailed, giving hulls a more rounded bottom and greater draft, as well as a sturdier frame and increased stability. The stern was more streamlined below the waterline, which lessened resistance.The measurements for Kronan were recorded in contemporary navy lists. Its length from stem post to stern post was 53 m (174 ft); this was considerably shorter than the length if the bowsprit and beakhead were included. The width was 12.9 m (42 ft) and was defined as the widest point between the frames, excluding planking. The draft varied depending on how heavily she was laden, but with full stores, ammunition and armaments it would have been about 6.2–6.8 m (20–22 ft). The height of the ship from keel to the highest mast was never recorded, but Kalmar County Museum has estimated it to have been at least 66 m (217 ft).Kronan's displacement – the ship's weight calculated by how much water it displaced while floating – is not known precisely, since there are no exact records of the dimensions. By using contemporary documents describing the approximate measurements, it has been estimated at around 2,300 tonnes. By its displacement in relation to the number and weight of guns, Kronan was over-gunned, though this was not uncommon for the era. European shipwrights had not been building three-deckers on a large scale before the 1650s; by the 1660s, designs were still quite experimental. Contemporary records show that English and French three-deckers tended to be rather unstable because they were built high, narrow and with too much artillery. Some English ships had to be reinforced with a "girdle" of built-up planking at the waterline to perform satisfactorily. In rough seas these ships could be forced to close the lowest row of gunports, depriving them of their heaviest and most effective guns. In these situations they were effectively just over-priced two-deckers. Kronan's construction was not inherently flawed; the ship handled harsh weather conditions in 1675 and again only a week before capsizing, but she could be dangerous if handled poorly. Later, during the 18th century, ships with the same weight of guns had more tonnage to support their guns, usually weighing 3,000–5,000 tonnes, which made them more stable. When Kronan was built, she was the third or fourth largest ship in the world, but as the trend moved towards ever greater ships, she was surpassed by other large warships. At the time Kronan sank, she was down to seventh place.

Ex Output:

What had a width of 42 feet?