TASK DEFINITION: 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.
PROBLEM: Passage: Igor Stravinsky was the son of Fyodor Stravinsky, the principal bass singer at the Imperial Opera, St Petersburg, and Anna, née Kholodovskaya, a competent amateur singer and pianist from an old-established Russian family. Fyodor's association with many of the leading figures in Russian music, including Rimsky-Korsakov, Borodin and Mussorgsky, meant that Igor grew up in an intensely musical home. In 1901 Stravinsky began to study law at Saint Petersburg University while taking private lessons in harmony and counterpoint. Stravinsky worked under the guidance of Rimsky-Korsakov, having impressed him with some of his early compositional efforts. By the time of his mentor's death in 1908 Stravinsky had produced several works, among them a Piano Sonata in F♯ minor (1903–04), a Symphony in E♭ major (1907), which he catalogued as "Opus 1", and a short orchestral piece, Feu d'artifice ("Fireworks", composed in 1908).In 1909 Feu d'artifice was performed at a concert in St. Petersburg. Among those in the audience was the impresario Sergei Diaghilev, who at that time was planning to introduce Russian music and art to western audiences. Like Stravinsky, Diaghilev had initially studied law, but had gravitated via journalism into the theatrical world. In 1907 he began his theatrical career by presenting five concerts in Paris; in the following year he introduced Mussorgsky's opera Boris Godunov. In 1909, still in Paris, he launched the Ballets Russes, initially with Borodin's Polovtsian Dances from Prince Igor and Rimsky-Korsakov's Scheherazade. To present these works Diaghilev recruited the choreographer Michel Fokine, the designer Léon Bakst and the dancer Vaslav Nijinsky. Diaghilev's intention, however, was to produce new works in a distinctively 20th-century style, and he was looking for fresh compositional talent. Having heard Feu d'artifice he approached Stravinsky, initially with a request for help in orchestrating music by Chopin to create the ballet Les Sylphides. Stravinsky worked on the opening "Nocturne" and the closing "Valse Brillante"; his reward was a much bigger commission, to write the music for a new ballet, The Firebird (L'oiseau de feu) for the 1910 season.Stravinsky worked through the winter of 1909–10, in close association with Fokine who was choreographing The Firebird. During this period Stravinsky made the acquaintance of Nijinsky who, although not dancing in the ballet, was a keen observer of its development. Stravinsky was uncomplimentary when recording his first impressions of the dancer, observing that he seemed immature and gauche for his age (he was 21). On the other hand, Stravinsky found Diaghilev an inspiration, "the very essence of a great personality". The Firebird was premiered on 25 June 1910, with Tamara Karsavina in the main role, and was a great public success. This ensured that the Diaghilev–Stravinsky collaboration would continue, in the first instance with Petrushka (1911) and then The Rite of Spring. 
Question: What is the full name of the person that impressed Rimsky-Korsakov with their early compositional efforts?

SOLUTION: Igor Stravinsky.

PROBLEM: Passage: Cattle, timber and mining baron George Washington "G.W." McLintock is living the single life on his ranch. He is estranged from wife Katherine, who left him two years before, suspecting him of adultery. She has been living the society life back East while their daughter Rebeeca (whom G.W. calls "Becky") (Stefanie Powers) is completing her college degree.

Following a meeting with a group of homesteaders whom he cautions against trying to farm on the Mesa Verde: "God made that land for the buffalo. It serves pretty well for cattle. But it hates the plow! And even the government should know you can't farm six thousand feet above sea level!"
He hires one of them, attractive widow Louise Warren, as his cook and housekeeper. G.W. welcomes both her and her two children into his home, including grown son Dev, who is handy with his fists, good with cattle, and is an excellent chess player, who had to leave Purdue University on account of his father's death.

Katherine (a.k.a. Katie), returns to the town of McLintock, seeking a divorce from G.W.  He declines to give her one, having no idea why she has been so angry with him and why she moved out two years ago.
Following a misunderstanding which leads to a Comanche subchief nearly being lynched by a hotheaded settler father who believes his daughter has been kidnapped, there is a gigantic brawl at the mud slide by one of McLintock's mines. Significantly, Katherine is in there swinging on her estranged husband's side as the local Indians watch the white folks make fools of themselves. 
Question: What is the full name of the parent whose children G.W. welcomes into his home?

SOLUTION: Louise Warren.

PROBLEM: Passage: While Raff was able to offer "practical suggestions [in orchestration] which were of great value to Liszt", there may have been "a basic misunderstanding" of the nature of their collaboration. Liszt wanted to learn more about instrumentation and acknowledged Raff's greater expertise in this area. Hence, he gave Raff piano sketches to orchestrate, just as he had done earlier with Conradi—"so that he might rehearse them, reflect on them, and then, as his confidence in the orchestra grew, change them." Raff disagreed, having the impression that Liszt wanted him on equal terms as a full collaborator. While attending an 1850 rehearsal of Prometheus, he told Bernhard Cossmann, who sat next to him, "Listen to the instrumentation. It is by me."Raff continued making such claims about his role in Liszt's compositional process. Some of these accounts, published posthumously by Die Musik in 1902 and 1903, suggest that he was an equal collaborator with Liszt. Raff's assertions were supported by Joachim, who had been active in Weimar at approximately the same time as Raff. Walker writes that Joachim later recalled to Raff's widow "that he had seen Raff 'produce full orchestral scores from piano sketches.'" Joachim also told Raff's biographer Andreas Moser that "the E-flat-major Piano Concerto was orchestrated from beginning to end by Raff." Raff's and Joachim's statements effectively questioned the authorship of Liszt's orchestral music, especially the symphonic poems. This speculation was debased when composer and Liszt scholar Peter Raabe carefully compared all sketches then known of Liszt's orchestral works with the published versions of the same works. Raabe demonstrated that, regardless of the position with first drafts, or of how much assistance Liszt may have received from Raff or Conradi at that point, every note of the final versions represents Liszt's intentions. 
Question: What is the name of the person who had earlier given Conradi piano sketches to illustrate?

SOLUTION:
Liszt.