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: After this, Holst tackled his final attempt at opera in a cheerful vein, with The Wandering Scholar (1929–30), to a text by Clifford Bax. Imogen refers to the music as "Holst at his best in a scherzando (playful) frame of mind"; Vaughan Williams commented on the lively, folksy rhythms: "Do you think there's a little bit too much 6/8 in the opera?" Short observes that the opening motif makes several reappearances without being identified with a particular character, but imposes musical unity on the work.Holst composed few large-scale works in his final years. A Choral Fantasia of 1930 was written for the Three Choirs Festival at Gloucester; beginning and ending with a soprano soloist, the work, also involving chorus, strings, brass and percussion, includes a substantial organ solo which, says Imogen Holst, "knows something of the 'colossal and mysterious' loneliness of Egdon Heath". Apart from his final uncompleted symphony, Holst's remaining works were for small forces; the eight Canons of 1932 were dedicated to his pupils, though in Imogen's view that they present a formidable challenge to the most professional of singers. The Brook Green Suite (1932), written for the orchestra of St Paul's School, was a late companion piece to the St Paul's Suite. The Lyric Movement for viola and small orchestra (1933) was written for Lionel Tertis. Quiet and contemplative, and requiring little virtuosity from the soloist, the piece was slow to gain popularity among violists. Robin Hull, in Penguin Music Magazine, praised the work's "clear beauty—impossible to mistake for the art of any other composer"; in Dickinson's view, however, it remains "a frail creation". Holst's final composition, the orchestral scherzo movement of a projected symphony, contains features characteristic of much of Holst's earlier music—"a summing up of Holst's orchestral art", according to Short. Dickinson suggests that the somewhat casual collection of material in the work gives little indication of the symphony that might have been written.
A:
What was the name of the work that was a late companion piece to St. Paul's Suite?