Q: 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: Fauré is regarded as one of the masters of the French art song, or mélodie. Ravel wrote in 1922 that Fauré had saved French music from the dominance of the German Lied. Two years later the critic Samuel Langford wrote of Fauré, "More surely almost than any writer in the world he commanded the faculty to create a song all of a piece, and with a sustained intensity of mood which made it like a single thought". In a 2011 article the pianist and writer Roy Howat and the musicologist Emily Kilpatrick wrote:
His devotion to the mélodie spans his career, from the ever-fresh "Le papillon et la fleur" of 1861 to the masterly cycle L'horizon chimérique, composed sixty years and more than a hundred songs later. Fauré's songs are now core repertoire for students and professionals, sung in conservatories and recital halls throughout the world.
In Copland's view, the early songs, written in the 1860s and 1870s under the influence of Gounod, except for isolated songs such as "Après un rêve" or "Au bord de l'eau", show little sign of the artist to come. With the second volume of the sixty collected songs written during the next two decades, Copland judged, came the first mature examples of "the real Fauré". He instanced "Les berceaux", "Les roses d'Ispahan" and especially "Clair de lune" as "so beautiful, so perfect, that they have even penetrated to America", and drew attention to less well known mélodies such as "Le secret", "Nocturne", and "Les présents". Fauré also composed a number of song cycles. Cinq mélodies "de Venise", Op. 58 (1891), was described by Fauré as a novel kind of song suite, in its use of musical themes recurring over the cycle. For the later cycle La bonne chanson, Op. 61 (1894), there were five such themes, according to Fauré. He also wrote that La bonne chanson was his most spontaneous composition, with Emma Bardac singing back to him each day's newly written material.
A:
What is the person that commanded the faculty to create a song all of a piece?