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: It has been eighteen months since Kurt Sloane killed Tong Po and avenged the death of his brother Eric. Now a professional mixed martial artist, Kurt defeats Renato Sobral using a move he calls the "Hurricane Armbar", a hurricanrana into an armbar. Kurt has been plagued by nightmares where he and his wife Liu are on a train and he finds himself fighting on the train which ends with him falling into water and possibly drowning. After the fight, Kurt is met by two U.S. Marshals who inform him that he must return to Thailand to be implicated in the death of Tong Po. When Kurt asks to see one of the Marshal's badges, he is tasered. 
Awakening in a prison in Thailand, Kurt meets Thomas Tang Moore, the mastermind behind the underground tournament where Kurt, Eric, and Tong Po have competed. Moore tells Kurt that when Tong Po was defeated, he was to remain there as the new champion, but instead with Kurt returning home, Moore needed to find a new champion. Moore offers Kurt to fight the new champion, Mongkut, a 6'8" 400-lb. fighter. Kurt finds himself taunted by Crawford, Tong Po's former right hand man who is working for Moore. Moore offers Kurt $1 million to fight Mongkut, but Kurt refuses. Stuck in prison, Kurt finds himself under constant threat from various prisoners, in which he then finds himself whipped by the prison guards each night. During one encounter, Kurt runs into Briggs, an American boxer who soon bonds with Kurt and even offers him a way to go through the pain from the whippings. Kurt also soon learns that his Muay Thai teacher, Durand, is now training some of the prisoners, but reveals that for his troubles, he has been blinded. 
Question: What are the first names of the two people riding on the train?

A: Kurt.
****
Q: 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?

A: cantatas.
****
Q: Passage: As far as we know, the earliest cantatas of Johann Sebastian Bach were performed in Mühlhausen from 1706 to 1708. He was employed as an organist there, but he occasionally composed cantatas, mostly for special occasions. The cantatas were based mainly on biblical texts and hymns, such as Aus der Tiefen rufe ich, Herr, zu dir, BWV 131 (a psalm setting), and the Easter chorale cantata Christ lag in Todes Banden, BWV 4.
Bach was next appointed organist and chamber musician in Weimar on 25 June 1708 at the court of the co-reigning dukes in Saxe-Weimar, Wilhelm Ernst and his nephew Ernst August. He initially concentrated on the organ, composing major works for the instrument, including the Orgelbüchlein, the Toccata and Fugue in D minor, BWV 565, and the Prelude and Fugue in E major, BWV 566. He was promoted to Konzertmeister on 2 March 1714, an honour that entailed performing a church cantata monthly in the Schlosskirche. The first cantatas he composed in the new position were Himmelskönig, sei willkommen, BWV 182, for Palm Sunday, Weinen, Klagen, Sorgen, Zagen, BWV 12 for Jubilate Sunday, and Erschallet, ihr Lieder, BWV 172, for Pentecost. Mostly inspired by texts by the court poet, Salomo Franck, they contain recitatives and arias. When Johann Samuel Drese, the Kapellmeister (director of music), died in 1716, Bach hoped in vain to become his successor. Bach looked for a better position and found it as Kapellmeister at the court of Leopold, Prince of Anhalt-Köthen. However, the duke in Weimar did not dismiss him and arrested him for disobedience. He was released on 2 December 1717.In Köthen, Bach found an employer who was an enthusiastic musician himself. The court was Calvinist, therefore Bach's work from this period was mostly secular, including the orchestral suites, the cello suites, the sonatas and partitas for solo violin, and the Brandenburg Concertos. He composed secular cantatas for the court for occasions such as New Year's Day and the prince's birthday, including Die Zeit, die Tag und Jahre macht, BWV 134a. He later parodied some of them as church cantatas without major changes, for example Ein Herz, das seinen Jesum lebend weiß, BWV 134. 
Question: What is the last name of the person who was promoted to Konzertmeister on 2 March 1714?

A:
Bach.
****