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: Despite a political climate that was unfavorable to modern art (often denounced as "formalist" by the communist authorities), post-war Polish composers enjoyed an unprecedented degree of compositional freedom following the establishment of the Warsaw Autumn festival in 1956. Gorecki had won recognition among avant-garde composers for the experimental, dissonant and serialist works of his early career; he became visible on the international scene through such modernist works as Scontri, which was a success at the 1960 Warsaw Autumn, and his First Symphony, which was awarded a prize at the 1961 Paris Youth Bienniale. Throughout the 1960s, he continued to form acquaintanceships with other experimental and serialist composers such as Pierre Boulez and Karlheinz Stockhausen.
During the 1970s, Gorecki began to distance himself from the serialism and extreme dissonance of his earlier work, and his Third Symphony, like the preceding choral pieces Euntes ibant et flebant (Op. 32, 1972) and Amen (Op. 35, 1975), starkly rejects such techniques. The lack of harmonic variation in Gorecki's Third Symphony, and its reliance on repetition, marked a stage in Gorecki's progression towards the harmonic minimalism and the simplified textures of his more recent work. Because of the religious nature of many of his works during this period, critics and musicologists often align him with other modernist composers who began to explore radically simplified musical textures, tonality, and melody, and who also infused many of their works with religious significance. Like-minded composers, such as Arvo Part and John Tavener, are frequently grouped with Gorecki under the term "holy minimalism," although none of the composers classified as such has admitted to common influences.
What is the last name of the person who continued to form acquaintanceships with other experimental and serialist composers ?

Passage: Born in Germany, Isaac Oscherwitz was a butcher who emigrated to America in the 1880s because of oppression and poverty. When he arrived in Cincinnati, he started his own sausage factory, which created jobs and a delicious product for the city's surprisingly well-populated Jewish community. But the Oscherwitzes also established their public face to the community through a family-run storefront shop, where they sold their meats and other classic Jewish delicacies. Decades later, Isaac's five sons extended the business to Chicago, which had become the center of the meat packing industry, and today the Oscherwitz family is responsible for well-known brands such as Best Kosher, Shofar, and Sinai.
This familial intimacy extends beyond the immediate family members to the way they treat everyone involved in the business, from factory workers to customers. "I don't think my husband ever felt like his customers were his customers," one woman says, "they were his friends." Another man, who took a job with the Oscherwitzes after he lost everything to the Holocaust, speaks highly of his employers. "It was such a family feeling," he explaining how warm and welcoming his coworkers have been.
The appeal of a family-owned product helped make the Oscherwitz brand popular, but fiscal success also jeopardized the family-run nature of the business. Before the swell of success, business meetings between the Oscherwitz brothers were a literal yelling contest, where arguments were won by the most powerful voice and, despite all the screaming, everyone left on good terms. But a big business couldn't run in the same way. The documentary shares the Oscherwitzes' inside struggles to keep their booming business family-run and shows the effects on everyone when they were bought out by a subsidiary of the Sara Lee Corporation.
What is the first name of the person who started their own sausage factory?

Passage: During Leopold's illness performances were impossible, so Wolfgang turned to composition. According to the writer and musician Jane Glover, Wolfgang was inspired to write symphonies after meeting Johann Christian Bach. It is not clear when this meeting occurred, or when Wolfgang first heard J. C. Bach's symphonies, although he had played the older composer's harpsichord works in his May 1764 royal recital. Wolfgang soon completed his Symphony No. 1 in E flat, K. 16, and started his No. 4 in D major, K. 19 (which Zaslaw concludes was more likely composed, or at least completed, in The Hague). The D major symphony has, in Hildesheimer's words, "an originality of melody and modulation which goes beyond the routine methods of his [grown-up] contemporaries". These are Wolfgang's first orchestral writings, although Zaslaw hypothesises a theoretical "Symphony No. 0" from sketches in Wolfgang's musical notebook. Three lost symphonies, identified in the Kochel catalogue of Mozart's works only by their incipits (first few bars of music), may also have originated from the London period. Other works composed by Wolfgang in London include several instrumental sonatas, the jewel of which, according to Hildesheimer, is the C major sonata for piano, four hands, K. 19d. A set of violin sonatas, with extra flute and cello parts, was dedicated to Queen Charlotte at her request, and presented to her with an appropriate inscription in January 1765. Wolfgang also wrote his first vocal works, the motet "God is our Refuge", K. 20, and the tenor aria Va, dal furor portata, K. 21.
What was the last name of the older composer who Wolfgang played their harpsichord works in his May 1764 royal recital?