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: During the 1750s  Messiah was performed increasingly at festivals and cathedrals throughout the country. Individual choruses and arias were occasionally extracted for use as anthems or motets in church services, or as concert pieces, a practice that grew in the 19th century and has continued ever since. After Handel's death, performances were given in Florence (1768), New York (excerpts, 1770), Hamburg (1772), and Mannheim (1777), where Mozart first heard it. For the performances in Handel's lifetime and in the decades following his death, the musical forces used in the Foundling Hospital performance of 1754 are thought by Burrows to be typical. A fashion for large-scale performances began in 1784, in a series of commemorative concerts of Handel's music given in Westminster Abbey under the patronage of King George III. A plaque on the Abbey wall records that "The Band consisting of DXXV [525] vocal & instrumental performers was conducted by Joah Bates Esqr." In a 1955 article, Sir Malcolm Sargent, a proponent of large-scale performances, wrote, "Mr Bates ... had known Handel well and respected his wishes. The orchestra employed was two hundred and fifty strong, including twelve horns, twelve trumpets, six trombones and three pairs of timpani (some made especially large)." In 1787 further performances were given at the Abbey; advertisements promised, "The Band will consist of Eight Hundred Performers".In continental Europe, performances of Messiah were departing from Handel's practices in a different way: his score was being drastically reorchestrated to suit contemporary tastes. In 1786, Johann Adam Hiller presented Messiah with updated scoring in Berlin Cathedral. In 1788 Hiller presented a performance of his revision with a choir of 259 and an orchestra of 87 strings, 10 bassoons, 11 oboes, 8 flutes, 8 horns, 4 clarinets, 4 trombones, 7 trumpets, timpani, harpsichord and organ. In 1789, Mozart was commissioned by Baron Gottfried van Swieten and the Gesellschaft der Associierten to re-orchestrate several works by Handel, including  Messiah (Der Messias). Writing for a small-scale performance, he eliminated the organ continuo, added parts for flutes, clarinets, trombones and horns, recomposed some passages and rearranged others. The performance took place on 6 March 1789 in the rooms of Count Johann Esterházy, with four soloists and a choir of 12. Mozart's arrangement, with minor amendments from Hiller, was published in 1803, after his death. The musical scholar Moritz Hauptmann described the Mozart additions as "stucco ornaments on a marble temple". Mozart himself was reportedly circumspect about his changes, insisting that any alterations to Handel's score should not be interpreted as an effort to improve the music. Elements of this version later became familiar to British audiences, incorporated into editions of the score by editors including Ebenezer Prout.

A: What did Mozart hear in Mannheim?
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Q: Passage: In the 1960s, in an undetermined place in the Alps, an eagle couple has two hatching eggs. When both eaglets are born, their mother knows that she must only raise one as their successor. In an ensuing fight with another eagle, the eaglets' father dies when he crashes to the ground. One of the eaglets shortly falls from the nest, and his mother, due by nature to maintain the survivor, ignores the eaglet's cry for help.
In the meantime, forester Danzer meets with a boy named Lukas and his father Keller. They both live in a new house in the mountains, after the death of Maria, mother of Lukas and Keller's wife, as a result of a fire. Keller, gravely afflicted by the death of his wife, fails to live in harmony and understanding with his son, who takes refuge more and more in nature, avoiding contact with his father. As a retreat Lukas constantly goes to the remains of his old house, where he often sees the photograph of his deceased mother.
As Lukas' dog Scout is taking a walk in the forrest, Lukas comes across the eaglet, and Lukas decides to raise him to full health. Lukas takes the eaglet to his old house to take care of him. Danzer also meets the eaglet, and decides to help Lukas for the affection he feels for him.
The forester tells Lukas that the food he has given the eaglet is not good. He also tells him to give sunlight to the eaglet. When a fox sneaks in and kills Keller's hens, he angrily chases Lukas. Lukas, fearful for the safety of the eaglet, goes to his family's hut. Lukas rescues the eaglet from the attacking foxes. As Lukas stays and reads his family's Bible, he comes across the story of Cain and Abel. Aptly fitting the eaglet's own story, Lukas names it Abel.

A: Who was married to the father of the boy that the forester meets?
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Q: Passage: Stanford Memorial Church is part of a linked, complex system of arcades that make up the Quad, which serves to unify the entire complex, is more reminiscent of European public spaces than American ones, and "is probably one of the most important feature of the original Stanford architecture".  It was built during the American Renaissance period.  Gregg called the church "a perfect example of the movement", with elements of the Renaissance, Byzantine and Medieval art, the Romanesque period, and the Pre-Raphaelites.  The architectural style of Stanford Memorial Church has been referred to as "a stunning example of late Victorian ecclesiastical art and architecture with echoes of Pre-Raphaelitism".  Stanford historian Richard Joncas called the church "an opulent example of high Victorian architecture with sumptuous materials and arts".The original designs for Memorial Church and much of the university were made in 1886 by prominent American architect Henry Hobson Richardson; when he died that same year, his student Charles A. Coolidge completed them.  Coolidge loosely based his design of Memorial Church on Richardson's design of Trinity Church in Boston.  The church's heavy red tile roofs, round turrets, low arches, and rough-hewn stonework matches the design of other buildings in the Quad.  After Jane Stanford's legal difficulties after her husband's death were resolved, she hired San Francisco architect Clinton E. Day to review and update the church's blueprints.  Charles E. Hodges was the supervising architect for the project.  Jane Stanford hired builder John McGilvray, who was responsible for constructing the St. Francis Hotel, the City Hall complex in San Francisco, and much of Stanford University, for the actual construction of Stanford Memorial Church.

A:
What is the full name of the person that constructed the Stanford Memorial Church?
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