[Q]: Given the below context:  Warrack emphasises that Holst acquired an instinctive understanding—perhaps more so than any English composer—of the importance of folksong. In it he found "a new concept not only of how melody might be organized, but of what the implications were for the development of a mature artistic language". Holst did not found or lead a school of composition; nevertheless, he exercised influences over both contemporaries and successors. According to Short, Vaughan Williams described Holst as "the greatest influence on my music", although Matthews asserts that each influenced the other equally. Among later composers, Michael Tippett is acknowledged by Short as Holst's "most significant artistic successor", both in terms of compositional style and because Tippett, who succeeded Holst as director of music at Morley College, maintained the spirit of Holst's music there. Of an early encounter with Holst, Tippett later wrote: "Holst seemed to look right inside me, with an acute spiritual vision". Kennedy observes that "a new generation of listeners ... recognized in Holst the fount of much that they admired in the music of Britten and Tippett". Holst's pupil Edmund Rubbra acknowledged how he and other younger English composers had adopted Holst's economy of style: "With what enthusiasm did we pare down our music to the very bone".Short cites other English composers who are in debt to Holst, in particular William Walton and Benjamin Britten, and suggests that Holst's influence may have been felt further afield. Above all, Short recognises Holst as a composer for the people, who believed it was a composer's duty to provide music for practical purposes—festivals, celebrations, ceremonies, Christmas carols or simple hymn tunes. Thus, says Short, "many people who may never have heard any of [Holst's] major works ... have nevertheless derived great pleasure from hearing or singing such small masterpieces as the carol 'In the Bleak Midwinter'".On 27 September 2009, after a weekend of concerts at Chichester Cathedral in memory of...  Guess a valid title for it!
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[A]: Gustav Holst


[Q]: Given the below context:  Descriptions of Imogen as a small child indicate that she had blue eyes, fair hair, an oval face reminiscent of her father's, and a rather prominent nose inherited from her mother.  In 1912, at the age of five, she joined the kindergarten class at the Froebel Institute, and remained at the school for five years. Summers were often spent at the Holsts' rented country cottage at Thaxted in Essex, where Gustav Holst began an annual Whitsun Festival in 1916.In 1917 Imogen began boarding at Eothen, a small, private school for girls in Caterham, where Jane Joseph, Gustav's star pupil from SPGS, taught music.  A letter home, dated 17 July 1917, tells of "compertishions [sic], and ripping prizes, and strawberries and cream for tea".  At the school, Imogen studied piano with Eleanor Shuttleworth, violin with André Mangeot (described as "topping") and theory with Jane Joseph ("ripping"). Under Joseph's tuition Imogen produced her first compositions—two instrumental pieces and four Christmas carol tunes—which she numbered as Ops. 1, 2, and 3. In the summer term of 1920, she composed and choreographed a "Dance of the Nymphs and Shepherds", which was performed at the school under her direction on 9 July.Imogen left Eothen in December 1920 hoping to study under Ruby Ginner at the Ginner-Mawer School of Dance and Drama, but was rejected on health grounds, although there appeared to be no significant medical issue. She then studied at home under a governess, while waiting to start at St Paul's Girls School in the autumn. At Whitsun 1921 she took part as a dancer in her father's production of Purcell's semi-opera from 1690, Masque of Dioclesian, held in the St Paul's School grounds and repeated a week later in Hyde Park.In September 1921 Imogen began at St Paul's Girls School, and became a boarder from Spring 1922. In July 1922 she performed a Bach Prelude and Fugue on the piano, for which Joseph praised her warmly, writing: "I think everyone enjoyed the Bach from beginning to end, they all made nice contented noises at the...  Guess a valid title for it!
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[A]: Imogen Holst


[Q]: Given the below context:  On Christmas Eve, the submarine USS Copperfin, under the command of Captain Cassidy, departs San Francisco on a secret mission. At sea, Cassidy opens his sealed orders, which direct him to proceed first to the Aleutian Islands to pick up meteorologist Lt. Raymond, then to Tokyo Bay to obtain vital weather intelligence for the upcoming Doolittle Raid. On the way, two Japanese planes attack; both are shot down, but one pilot manages to parachute into the water. When Mike goes to pick him up, he is stabbed to death. New recruit Tommy Adams shoots the pilot, but because he was slow to react, Tommy blames himself for Mike's death and volunteers to defuse an unexploded bomb stuck under the deck. When Mike is buried at sea, Greek-American "Tin Can" (Dane Clark) does not attend the service, which angers the other men until he explains that every Allied death causes him great pain.  Meanwhile, Raymond, who lived in Japan, discusses how the Japanese people were led into the war by the military faction. As the submarine nears Tokyo Bay, the Copperfin has to negotiate its way through protective minefields and anti-torpedo nets. When a Japanese ship enters the bay, Cassidy follows in its wake. That night, a small party, including the ship's womanizer, "Wolf" (John Garfield), goes ashore to make weather observations. Meanwhile, Tommy is diagnosed with  appendicitis. "Pills", the pharmacist's mate, has to operate following instructions from a book, using improvised instruments, and without sufficient ether to last throughout the procedure.  The operation is a success, and "Cookie" Wainwright begins to prepare the pumpkin pie he had promised to bake for Tommy.  Guess a valid title for it!
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[A]:
Destination Tokyo