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 the publication of the L'Orfeo score in 1609, the same publisher (Ricciardo Amadino of Venice) brought it out again in 1615. Facsimiles of these editions were printed in 1927 and 1972 respectively. Since Eitner's first "modern" edition of L'Orfeo in 1884, and d'Indy's performing edition 20 years later—both of which were abridged and adapted versions of the 1609 score—there have been many attempts to edit and present the work, not all of them published. Most of the editions that followed d'Indy up to the time of the Second World War were arrangements, usually heavily truncated, that provided a basis for performances in the modern opera idiom. Many of these were the work of composers, including Carl Orff (1923 and 1939) and Ottorino Respighi in 1935. Orff's 1923 score, using a German text, included some period instrumentation, an experiment he abandoned when producing his later version.In the post-war period, editions have moved increasingly to reflect the performance conventions of Monteverdi's day. This tendency was initiated by two earlier editions, that of Jack Westrup used in the 1925 Oxford performances, and Gian Francesco Malipiero's 1930 complete edition which sticks closely to Monteverdi's 1609 original. After the war, Hindemith's attempted period reconstruction of the work was followed in 1955 by an edition from August Wenzinger that remained in use for many years. The next 30 years saw numerous editions, mostly prepared by scholar-performers rather than by composers, generally aiming towards authenticity if not always the complete re-creation of the original instrumentation. These included versions by Raymond Leppard (1965), Denis Stevens (1967), Nikolaus Harnoncourt (1969), Jane Glover (1975), Roger Norrington (1976) and John Eliot Gardiner. Only the composers Valentino Bucchi (1967), Bruno Maderna (1967) and Luciano Berio (1984) produced editions based on the convention of a large modern orchestra. In the 21st century editions continue to be produced, often for use in conjunction with a particular performance or recording.

A: What is the name of the work Hindemith's attempted period reconstruction of, was followed in 1955 by an edition from August Wenzinger?
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Q: Passage: At the turn of the 17th century, Monteverdi found himself the target of musical controversy. The influential Bolognese theorist Giovanni Maria Artusi attacked Monteverdi's music (without naming the composer) in his work L'Artusi, overo Delle imperfettioni della moderna musica (Artusi, or On the imperfections of modern music) of 1600, followed by a sequel in 1603. Artusi cited extracts from Monteverdi's works not yet published (they later formed parts of his fourth and fifth books of madrigals of 1603 and 1605), condemning their use of harmony and their innovations in use of musical modes, compared to orthodox polyphonic practice of the sixteenth century. Artusi attempted to correspond with Monteverdi on these issues; the composer refused to respond, but found a champion in a pseudonymous supporter, "L'Ottuso Academico" ("The Obtuse Academic"). Eventually Monteverdi replied in the preface to the fifth book of madrigals that his duties at court prevented him from a detailed reply; but in a note to "the studious reader", he claimed that he would shortly publish a response, Seconda Pratica, overo Perfettione della Moderna Musica (The Second Style, or Perfection of Modern Music). This work never appeared, but a later publication by Claudio's brother Giulio Cesare made it clear that the seconda pratica which Monteverdi defended was not seen by him as radical change or his own invention, but was an evolution from previous styles (prima pratica) which was complementary to them.This debate seems in any case to have raised the composer's profile, leading to reprints of his earlier books of madrigals. Some of his madrigals were published in Copenhagen in 1605 and 1606, and the poet Tommaso Stigliani published a eulogy of him in his 1605 poem "O sirene de' fiumi". The composer of madrigal comedies and theorist Adriano Banchieri wrote in 1609: "I must not neglect to mention the most noble of composers, Monteverdi ... his expressive qualities are truly deserving of the highest commendation, and we find in them countless examples of matchless declamation ... enhanced by comparable harmonies." The modern music historian Massimo Ossi has placed the Artusi issue in the context of Monteverdi's artistic development: "If the controversy seems to define Monteverdi's historical position, it also seems to have been about stylistic developments that by 1600 Monteverdi had already outgrown".The non-appearance of Monteverdi's promised explanatory treatise may have been a deliberate ploy, since by 1608, by Monteverdi's reckoning, Artusi had become fully reconciled to modern trends in music, and the seconda pratica was by then well established; Monteverdi had no need to revisit the issue. On the other hand, letters to Giovanni Battista Doni of 1632 show that Monteverdi was still preparing a defence of the seconda practica, in a treatise entitled Melodia; he may still have been working on this at the time of his death ten years later.

A: What is the name of the person that never published a response, Seconda Pratica?
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Q: Passage: Lennon and Ono co-produced the song and album with Phil Spector, who commented on the track: "We knew what we were going to do ... It was going to be John making a political statement, but a very commercial one as well ... I always thought that 'Imagine' was like the national anthem." Lennon described his working arrangement with Ono and Spector: "Phil doesn't arrange or anything like that—[Ono] and Phil will just sit in the other room and shout comments like, 'Why don't you try this sound' or 'You're not playing the piano too well' ... I'll get the initial idea and ... we'll just find a sound from [there]."Recording took place on 27 May 1971 at Ascot Sound Studios, Lennon's newly built home studio at Tittenhurst Park, with string overdubs taking place on 4 July 1971 at the Record Plant, in New York City. Relaxed and patient, the sessions began during the late morning, running to just before dinner in the early evening. Lennon taught the musicians the chord progression and a working arrangement for "Imagine", rehearsing the song until he deemed the musicians ready to record. In his attempt to recreate Lennon's desired sound, Spector had some early tapings feature Lennon and Nicky Hopkins playing in different octaves on one piano. He also initially attempted to record the piano part with Lennon playing the white baby grand in the couple's all-white room. However, after having deemed the room's acoustics unsuitable, Spector abandoned the idea in favour of the superior environment of Lennon's home studio. They completed the session in minutes, recording three takes and choosing the second one for release. The finished recording featured Lennon on piano and vocal, Klaus Voormann on bass guitar, Alan White on drums and the Flux Fiddlers on strings.Issued by Apple Records in the United States in October 1971, "Imagine" became the best-selling single of Lennon's solo career. It peaked at number three on the Billboard Hot 100 and reached number one in Canada on the RPM national singles chart, remaining there for two weeks. Upon its release the song's lyrics upset some religious groups, particularly the line: "Imagine there's no heaven". When asked about the song during one of his final interviews, Lennon said he considered it to be as strong a composition as any he had written with the Beatles. He described the song's meaning and explicated its commercial appeal: "Anti-religious, anti-nationalistic, anti-conventional, anti-capitalistic, but because it is sugarcoated it is accepted ... Now I understand what you have to do. Put your political message across with a little honey." In an open letter to Paul McCartney published in Melody Maker, Lennon said that "Imagine" was "'Working Class Hero' with sugar on it for conservatives like yourself". On 30 November 1971, the Imagine LP reached number one on the UK chart. It became the most commercially successful and critically acclaimed album of Lennon's solo career.

A:
What was the first name of the person who co-produced an alsum with Ono?
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