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: Massenet was a fluent and skilful orchestrator, and willingly provided ballet episodes for his operas, incidental music for plays, and a one-act stand-alone ballet for Vienna (Le carillon, 1892). Macdonald remarks that Massenet's orchestral style resembled that of Delibes, "with its graceful movement and bewitching colour", which was highly suited to classical French ballet. The Méditation for solo violin and orchestra, from Thaïs, is possibly the best known non-vocal piece by Massenet, and appears on many recordings. Another popular stand-alone orchestral piece from the operas is Le dernier sommeil de la Vierge from La Vierge, which has featured on numerous discs since the middle of the 20th century.A Parisian critic, after seeing La grand' tante, declared that Massenet was a symphonist rather than a theatre composer. At the time of the British premiere of Manon in 1885, the critic in The Manchester Guardian, reviewing the work enthusiastically, nevertheless echoed his French confrère's view that the composer was really a symphonist, whose music was at its best when purely orchestral.  Massenet took a wholly opposite view of his talents. He was temperamentally unsuited to writing symphonically: the constraints of sonata form bored him. He wrote, in the early 1870s, "What I have to say, musically, I have to say rapidly, forcefully, concisely; my discourse is tight and nervous, and if I wanted to express myself otherwise I would not be myself." His efforts in the concertante field made little mark, but his orchestral suites, colourful and picturesque according to Grove, have survived on the fringes of the repertoire.  Other works for orchestra are a symphonic poem, Visions (1891), an Ouverture de Concert (1863) and Ouverture de Phèdre (1873). After early attempts at chamber music as a student, he wrote little more in the genre. Most of his early chamber pieces are now lost; three pieces for cello and piano survive.
What is the name of the best known non-vocal piece by Massenet?

Passage: The blacksmith and swordsmith John is tutored at the court of King Arthur, but as a commoner he can't hope to win the hand of Lady Linet, daughter of the Earl of Yeonil. The Earl's castle is attacked by Saracens and Cornishmen — disguised as Vikings — and his wife is killed, making him lose his memory. The attack was part of a plot by the Saracen Sir Palamides and the pagan Cornish King Mark to overthrow Arthur and Christianity and take over the country, whilst pretending to be Arthur's friends and allies  - Palamides is a knight of the round table and Mark has faked his own baptism.John accuses Palamides' servant Bernard of murder before Arthur, who grants him three months' grace to prove the accusation or face execution himself. Another knight, Sir Ontzlake, takes pity on John and trains him in swordplay so that he can take on an alternative secret identity as the wandering Black Knight. The "Vikings" raid a newly founded monastery and take Lady Linet and its monks to Stonehenge for a pagan sacrifice, but the Black Knight arrives and saves her, closely followed by Arthur and his knights, who defeat the pagans and destroy Stonehenge.
Sir Palamides tricks the Lady Linet into his castle to try to get her to reveal the Black Knight's identity, but John is informed of this and saves her, still in disguise. Sir Ontzlake then sends him to King Mark's castle, where a pro-Arthur woodcarver shows him  a secret tunnel into the royal chambers. John arrives in time to overhear Mark and Palamides finalising their plot but Palamides beats him back to Camelot, tricking Arthur into thinking that the Black Knight is leading the Viking raids. John arrives dressed as the Black Knight and despite revealing his identity is briefly imprisoned until Lady Linet and Sir Ontzlake free him, with the latter standing bail for John to Arthur.
Who loses his memory after his wife is killed?

Passage: Boult, unlike many of his contemporaries, preferred the traditional orchestral layout, with first violins on the conductor's left and the seconds on the right. Of the practice of grouping all the violins together on the left, he wrote, "The new seating is, I admit, easier for the conductor and the second violins, but I firmly maintain that the second violins themselves sound far better on the right. ... When the new fashion reached us from America somewhere about 1908 it was adopted by some conductors, but Richter, Weingartner, Walter, Toscanini and many others kept what I feel is the right balance."This care for balance was an important feature of Boult's music-making. Orchestral players across decades commented on his insistence that every important part should be heard without difficulty. His BBC principal violist wrote in 1938, "If a woodwind player has to complain that he has already been blowing 'fit to burst' there is trouble for somebody." The trombonist Ray Premru wrote forty years later, "One of the old school, like Boult, is so refreshing because he will reduce the dynamic level – 'No, no, pianissimo, strings, let the soloist through, less from everyone else.' That is the old idea of balance."As an educator, Boult influenced several generations of musicians, beginning with his conducting class at the Royal College of Music, London, which he ran from 1919 to 1930. As no such classes had been held before in Britain, Boult "created its curriculum from out of his own experience. ... From that first small class has come all the later formal training for conductors throughout Britain." In the 1930s Boult ran a series of "conferences for conductors" at his country house near Guildford, sometimes helped by Vaughan Williams who lived a few miles away. From 1962 to 1966 he again taught at the Royal College of Music. In later life, he made time for young conductors who sought his counsel.  Among those who studied with or were influenced by Boult were Colin Davis, James Loughran, Richard Hickox and Vernon Handley. The last was not only a pupil of Boult, but acted as his musical assistant on many occasions.
What was the last year Boult taught at the Royal College of Music?