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.

Passage: The musical and philosophical ideas behind the opera had begun in Tippett's mind several years earlier. The story, which he wrote himself, charts the fortunes of two contrasting couples in a manner which has brought comparisons with Mozart's The Magic Flute. The strain of composition, combined with his continuing responsibilities at Morley and his BBC work, affected Tippett's health and slowed progress. Following the death in 1949 of Morley's principal, Eva Hubback, Tippett's personal commitment to the college waned. His now-regular BBC fees had made him less dependent on his Morley salary, and he resigned his college post in 1951. His farewell took the form of three concerts which he conducted at the new Royal Festival Hall, in which the programmes included A Child of Our Time, the British premiere of Carl Orff's Carmina Burana, and Thomas Tallis's rarely performed 40-part motet Spem in alium.In 1951 Tippett moved from Limpsfield to a large, dilapidated house, Tidebrook Manor in Wadhurst, Sussex. As The Midsummer Marriage neared completion he wrote a song cycle for tenor and piano, The Heart's Assurance. This work, a long-delayed tribute to Francesca Allinson (who had committed suicide in 1945), was performed by Britten and Pears at the Wigmore Hall on 7 May 1951. The Midsummer Marriage was finished in 1952, after which Tippett arranged some of the music as a concert suite, the Ritual Dances, performed in Basel, Switzerland, in April 1953. The opera itself was staged at Covent Garden on 27 January 1955. The lavish production, with costumes and stage designs by Barbara Hepworth and choreography by John Cranko, perplexed the opera-going public and divided critical opinion. According to Bowen, most "were simply unprepared for a work that departed so far from the methods of Puccini and Verdi". Tippett's libretto was variously described as "one of the worst in the 350-year history of opera" and "a complex network of verbal symbolism", and the music as "intoxicating beauty" with "passages of superbly conceived orchestral writing". A year after the premiere, the critic A.E.F. Dickinson concluded that "in spite of notable gaps in continuity and distracting infelicities of language, [there is] strong evidence that the composer has found the right music for his ends".Much of the music Tippett composed following the opera's completion reflected its lyrical style. Among these works was the Fantasia Concertante on a Theme of Corelli (1953) for string orchestra, written to commemorate the 300th anniversary of the composer Arcangelo Corelli's birth. The Fantasia would eventually become one of Tippett's most popular works, though The Times's critic lamented the "excessive complexity of the contrapuntal writing ... there was so much going on that the perplexed ear knew not where to turn or fasten itself". Such comments helped to foster a view that Tippett was a "difficult" composer, or even that his music was amateurish and poorly prepared. These perceptions were strengthened by controversies around several of his works in the late 1950s. The Piano Concerto (1955) was declared unplayable by its scheduled soloist, Julius Katchen, who had to be replaced before the premiere by Louis Kentner. The Dennis Brain Wind Ensemble, for whom Tippett had written the Sonata for Four Horns (1955), complained that the work was in too high a key and required it to be transposed down. When the Second Symphony was premiered by the BBC Symphony Orchestra under Boult, in a live broadcast from the Royal Festival Hall on 5 February 1958, the work broke down after a few minutes and had to be restarted by the apologetic conductor: "Entirely my mistake, ladies and gentlemen". The BBC's Controller of Music defended the orchestra in The Times, writing that it "is equal to all reasonable demands", a wording that implied the fault was the composer's.
What three things affected Tippett's health?

Passage: The most significant early research of Early Netherlandish art occurred in the 1920s, in German art historian Max Jakob Friedlander's pioneering Meisterwerke der Niederlandischen Malerei des 15. und 16. Jahrhunderts. Friedlander focused on the biographical details of the painters, establishing attribution, and examining their major works. The undertaking proved extremely difficult, given the scant historical record of even the most significant artists. Fellow-German Erwin Panofsky's analysis in the 1950s and 1960s followed and in many ways challenged Friedlander's work. Writing in the United States, Panofsky made the work of the German art historians accessible to the English-speaking world for the first time. He effectively legitimized Netherlandish art as a field of study, and raised its status to something similar to the early Italian renaissance.
Panofsky was one of the first art historians to abandon formalism. He built on Friedlander's attempts at attribution, but focused more on social history and religious iconography. Panofsky developed the terminology with which the Netherlandish paintings are usually described, and made significant advances identifying the rich religious symbolism especially of the major altarpieces. Panofsky was the first scholar to connect the work of Netherlandish painters and illuminators, noticing the considerable overlap. He considered the study of manuscripts to be integral to the study of panels, though in the end came to view illumination as less significant than panel painting as a prelude to the truly significant work of the northern artists of the 15th and 16th centuries.Otto Pacht and Friedrich Winkler continued and developed on Panofsky's work. They were key in identifying sources of iconography and ascribing attribution, or at least differentiating anonymous masters under names of convenience. The paucity of surviving documentation has made attribution especially difficult, a problem compounded by the workshop system. It was not until the late 1950s, after the research of Friedlander, Panofsky and Meyer Schapiro, that the attributions generally accepted today were established.
What is the full name of the person who effectively legitimized Netherlandish art as a field of study?

Passage: "The Late Great Johnny Ace" was interrupted when an audience member ran to the stage and shouted at Simon: "I need to talk to you!" The man was carried away by security, and Simon finished the song. The incident provoked associations to the song's lyrics, in which Simon speaks as a first-person narrator concerning the deaths of Johnny Ace, John F. Kennedy and John Lennon. Lennon's murder by an obsessed fan had taken place less than a year previously, not far from the concert site. Despite this association, Simon said that he was not afraid of any on-stage incidents. In May 1982 as a guest on Late Night with David Letterman, he explained that while it is not unusual for fans, for example, to jump onto the stage with flowers, this action was new to him, but also felt that the man simply appeared intoxicated. His greater concern was that the song's premiere was ruined.Lyrics referring to the New York area produced audience applause, such as Garfunkel's ode to his home city, "A Heart in New York", which describes from a New Yorker's point of view the first glimpse of the city when returning there by air:
New York, lookin' down on Central Park, where they say you should not wander after dark
Applause broke out during "The Sound of Silence", when the narrative voice refers to a large crowd of people in the dark:
And in the naked light I saw ten thousand people maybe more
After the 17th song, "The Boxer", which contained an additional stanza not included in the album version, Simon & Garfunkel thanked the audience and left the stage, but returned to deliver an encore of three songs "Old Friends / Bookends Theme", "The 59th Street Bridge Song (Feelin' Groovy)" and "The Sound of Silence". Simon then said that their planned use of pyrotechnics had been disallowed, and told the crowd, "Let's have our own fireworks!" Many spectators sparked lighters. The duo then introduced the members of the backing band and gave a final encore, a reprise of "Late in the Evening".
What was the song played as the final encore by duo that was interrupted by a man shouting "I need to talk to you!"?