Q: Given the below context:  As Opeth's primary songwriter and lyricist, vocalist/guitarist Mikael Åkerfeldt heads the direction of Opeth's sound. He was influenced at a young age by the 1970s progressive rock bands King Crimson, Yes, Genesis, Camel, P.F.M., Hawkwind, and Gracious, and by heavy metal bands such as Iron Maiden, Slayer, Death, Black Sabbath, Deep Purple, Celtic Frost, King Diamond, Morbid Angel, Voivod, and, most importantly, Judas Priest. Åkerfeldt considers Judas Priest's Sad Wings of Destiny (1976) the best metal album of all time, and notes that there was a time when he listened only to Judas Priest. While warming up before Opeth concerts, Åkerfeldt frequently sings "Here Come the Tears" from Judas Priest's third album Sin After Sin (1977). Åkerfeldt later discovered progressive rock and folk music, both of which had a profound impact on the sound of the band.Opeth's distinct sound mixes death metal with progressive rock. Steve Huey of AllMusic refers to Opeth's "epic, progressive death metal style". Ryan Ogle of Blabbermouth described Opeth's sound as incorporating "the likes of folk, funk, blues, '70s rock, goth and a laundry list of other sonic oddities into their trademark progressive death style." In his review of Opeth's 2001 album Blackwater Park, AllMusic's Eduardo Rivadavia wrote, "Tracks start and finish in seemingly arbitrary fashion, usually traversing ample musical terrain, including acoustic guitar and solo piano passages, ambient soundscapes, stoner rock grooves, and Eastern-tinged melodies—any of which are subject to savage punctuations of death metal fury at any given moment." Åkerfeldt commented on the diversity of Opeth's music: I don't see the point of playing in a band and going just one way when you can do everything. It would be impossible for us to play just death metal; that is our roots, but we are now a mishmash of everything, and not purists to any form of music. It's impossible for us to do that, and quite frankly I would think of it as boring to be in a band that plays just metal music....  Guess a valid title for it!
A: Opeth

Q: Given the below context:  Jack and Kate, who have been together since college, are at JFK Airport, where Jack is about to leave to take up a twelve-month internship with Barclays in London. Kate fears the separation will be fatal for their relationship and asks him not to go, but he reassures her, saying their love is strong enough to last, and he flies out. The scene fades out to "13 years later": Jack is now an unmarried Wall Street executive in New York City, living a carefree bachelor's life. At work, he is putting together a multi-billion dollar merger and has ordered an emergency meeting on Christmas Day. In his office, on Christmas Eve, he gets a message to contact Kate, but, even though he remembers her, he dismisses it, apparently uninterested.  On his way home, he is in a convenience store when a young man, Cash, enters claiming to have a winning lottery ticket worth $238, but the store clerk refuses him, saying the ticket is a forgery. Cash pulls out a gun and threatens him, so Jack offers to buy the ticket and Cash eventually agrees. Outside, Jack tries to help Cash, to which he responds by asking Jack if anything is missing from his life. Jack says he has everything he needs, whereupon Cash enigmatically remarks that Jack has brought upon himself what is now going to happen, and walks away. A puzzled Jack returns to his penthouse and sleeps. On Christmas Day, Jack wakes up in a suburban New Jersey bedroom with Kate and two children. He rushes out to his condo and office in New York, but both doormen refuse him entrance and do not recognize him. Jack runs out into the street and encounters Cash driving Jack's Ferrari. Although Cash offers to explain what is happening, all he says is  a vague reference to "The Organization" and that Jack is getting "a glimpse" which will help him to figure out for himself what it's about.  Guess a valid title for it!
A: The Family Man

Q: Given the below context:  A composer may also respond to a text by expanding a choral symphony beyond the normal bounds of the symphonic genre. This is evident in the unusual orchestration and stage directions Berlioz prepared for his Roméo et Juliette. This piece is actually in seven movements, and calls for an intermission after the fourth movement – the "Queen Mab Scherzo" – to remove the harps from the stage and bring on the chorus of Capulets for the funeral march that follows. Berlioz biographer D. Kern Holoman observed that, "as Berlioz saw it, the work is simply Beethovenian in design, with the narrative elements overlain. Its core approaches a five-movement symphony with the choral finale and, as in the [Symphonie] Fantastique, both a scherzo and a march.... The 'extra' movements are thus the introduction with its potpourri of subsections and the descriptive tomb scene [at the end of the work]."Mahler expanded the Beethovenian model for programmatic as well as symphonic reasons in his Second Symphony, the "Resurrection", the vocal fourth movement, "Urlicht", bridging the childlike faith of the third movement with the ideological tension Mahler seeks to resolve in the finale. He then abandoned this pattern for his Third Symphony, as two movements for voices and orchestra follow three purely instrumental ones before the finale returns to instruments alone. Like Mahler, Havergal Brian expanded the Beethovenian model, but on a much larger scale and with far larger orchestral and choral forces, in his Symphony No. 1 "The Gothic". Written between 1919 and 1927, the symphony was inspired by Goethe's Faust and Gothic cathedral architecture. The Brian First is in two parts. The first consists of three instrumental movements; the second, also in three movements and over an hour in length, is a Latin setting of the Te Deum.  Guess a valid title for it!
A:
Choral symphony