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.

[Q]: Passage: In June 1911, as part of the celebrations surrounding the coronation of King George V, Elgar was appointed to the Order of Merit, an honour limited to twenty-four holders at any time. The following year, the Elgars moved back to London, to a large house in Netherhall Gardens, Hampstead, designed by Norman Shaw. There Elgar composed his last two large-scale works of the pre-war era, the choral ode, The Music Makers (for the Birmingham Festival, 1912) and the symphonic study Falstaff (for the Leeds Festival, 1913). Both were received politely but without enthusiasm. Even the dedicatee of Falstaff, the conductor Landon Ronald, confessed privately that he could not "make head or tail of the piece," while the musical scholar Percy Scholes wrote of Falstaff that it was a "great work" but, "so far as public appreciation goes, a comparative failure."When World War I broke out, Elgar was horrified at the prospect of the carnage, but his patriotic feelings were nonetheless aroused. He composed "A Song for Soldiers", which he later withdrew. He signed up as a special constable in the local police and later joined the Hampstead Volunteer Reserve of the army. He composed patriotic works, Carillon, a recitation for speaker and orchestra in honour of Belgium, and Polonia, an orchestral piece in honour of Poland. Land of Hope and Glory, already popular, became still more so, and Elgar wished in vain to have new, less nationalistic, words sung to the tune.
By contrast, the remaining work, the Cello Concerto in E minor, had a disastrous premiere, at the opening concert of the London Symphony Orchestra's 1919–20 season in October 1919. Apart from the Elgar work, which the composer conducted, the rest of the programme was conducted by Albert Coates, who overran his rehearsal time at the expense of Elgar's. Lady Elgar wrote, "that brutal selfish ill-mannered bounder ... that brute Coates went on rehearsing." The critic of The Observer, Ernest Newman, wrote, "There have been rumours about during the week of inadequate rehearsal. Whatever the explanation, the sad fact remains that never, in all probability, has so great an orchestra made so lamentable an exhibition of itself. ... The work itself is lovely stuff, very simple – that pregnant simplicity that has come upon Elgar's music in the last couple of years – but with a profound wisdom and beauty underlying its simplicity." Elgar attached no blame to his soloist, Felix Salmond, who played for him again later, including at the inaugural concert of the City of Birmingham Orchestra (later City of Birmingham Symphony Orchestra), which Elgar conducted. In contrast with the First Symphony and its hundred performances in just over a year, the Cello Concerto did not have a second performance in London for more than a year.
[A]: What are the exact titles of the two separate works that were both received politely but without enthusiasm?


[Q]: Passage: Mauna Kea is one of five volcanoes  that form the island of Hawaii, the largest and youngest island of the Hawaiian–Emperor seamount chain. Of these five hotspot volcanoes, Mauna Kea is the fourth oldest and fourth most active. It began as a preshield volcano driven by the Hawaii hotspot around one million years ago, and became exceptionally active during its shield stage until 500,000 years ago. Mauna Kea entered its quieter post-shield stage 250,000 to 200,000 years ago, and is currently dormant. Mauna Kea does not have a visible summit caldera, but contains a number of small cinder and pumice cones near its summit. A former summit caldera may have been filled and buried by later summit eruption deposits.
Mauna Kea is over 32,000 km3 (7,680 cu mi) in volume, so massive that it and its neighbor, Mauna Loa, depress the ocean crust beneath it by 6 km (4 mi).
Mauna Kea is the only Hawaiian volcano with distinct evidence of glaciation. Similar deposits probably existed on Mauna Loa, but have been covered by later lava flows. Despite Hawaii's tropical location, during several past ice ages a drop of a degree in temperature allowed snow to remain at the volcano's summit through summer, triggering the formation of an ice cap. There are three episodes of glaciation that have been recorded from the last 180,000 years: the Pōhakuloa (180–130 ka), Wāihu (80–60 ka) and Mākanaka (40–13 ka) series. These have extensively sculpted the summit, depositing moraines and a circular ring of till and gravel along the volcano's upper flanks. Subglacial eruptions built cinder cones during the Mākanaka glaciation, most of which were heavily gouged by glacial action. The most recent cones were built between 9000 and 4500 years ago, atop the glacial deposits, although one study indicates that the last eruption may have been around 3600 years ago.At their maximum extent, the glaciers extended from the summit down to between 3,200 and 3,800 m (10,500 and 12,500 ft) of elevation. A small body of permafrost, less than 25 m (80 ft) across, was found at the summit of Mauna Kea before 1974, and may still be present. Small gullies etch the summit, formed by rain- and snow-fed streams that flow only during winter melt and rain showers.
[A]: What was likely covered by later lava flows on Mauna Loa?


[Q]: Passage: In 1932, after six year's teaching at the Royal College, Moore took up a post as the Head of the Department of Sculpture at the Chelsea School of Art. Artistically, Moore, Hepworth and other members of The Seven and Five Society would develop steadily more abstract work, partly influenced by their frequent trips to Paris and their contact with leading progressive artists, notably Pablo Picasso, Georges Braque, Jean Arp and Alberto Giacometti. Moore flirted with Surrealism, joining Paul Nash's modern art movement "Unit One", in 1933. In 1934, Moore visited Spain; he visited the cave of Altamira (which he described as the "Royal Academy of Cave Painting"), Madrid, Toledo and Pamplona.Moore and Nash were on the organising committee of the International Surrealist Exhibition, which took place in London in 1936. In 1937, Roland Penrose purchased an abstract 'Mother and Child' in stone from Moore that he displayed in the front garden of his house in Hampstead. The work proved controversial with other residents and the local press ran a campaign against the piece over the next two years. At this time Moore gradually transitioned from direct carving to casting in bronze, modelling preliminary maquettes in clay or plaster rather than making preparatory drawings.
In 1938, Moore met Kenneth Clark for the first time. From this time, Clark became an unlikely but influential champion of Moore's work, and through his position as member of the Arts Council of Great Britain he secured exhibitions and commissions for the artist.
[A]:
What were the last names of the leading progressive artists The Seven and Five Society would contact?