Question: Given the below context:  In 1916 Jerusalem, German troops led by Von Schiller arrest French wine seller Paul Rouget for spying and hang him. His daughter Juliet goes into hiding dressed as a boy and starts spying on the Germans. Three members of the Australian Lighthorse, Red, Larry and Jim, are enjoying themselves (including a game of two-up) on leave in Cairo, when called to fight the Turks. They take part in several battles including the march to Ogratina and the Battle of Romani. Red is separated from the others after one battle and has his life saved by Juliet, who he thinks is an Arab boy. Red is reunited with his friends and they arrive at an Arab village. He meets Juliet and realises she was the boy who saved his life. They begin a romance. The Battle of Gaza takes place; Jim and Larry are mortally wounded and Red is captured. He is sent to Beersheba to work as slave labour and discovers the town is wired with explosives. Juliet rescues him and they spend the night together in a hut. Jim manages to rejoin his unit in time to participate in the charge of the Light Horse at the Battle of Beersheba, and stops Von Schiller before he detonates the explosives. The Germans and Turks are defeated and a wounded Red is reunited with Juliet.  Guess a valid title for it!
Answer: Forty Thousand Horsemen


[Q]: Given the below context:  (English: "Armida abandoned") After the rejection of Licori, Monteverdi did not immediately turn his attention to Armida. Instead, he went to Parma, having been commissioned to provide musical entertainments for the marriage celebrations of the youthful Duke Odoardo Farnese of Parma and Margherita de' Medici. He spent several weeks in Parma working on these; nevertheless, on 18 December 1627 he was able to tell Striggio that the music for Armida had been completed and was being copied. In the relevant section of Tasso's poem, the enchantress Armida lures the noble Rinaldo to her enchanted island. Two knights arrive to persuade Rinaldo to return to his duty, while Armida pleads with him to stay, or if he must depart, to allow her to be at his side in battle. When he refuses and abandons her, Armida curses him before falling insensible.Carter indicates several structural similarities to Il combattimento; both works require three voices, one of which acts as the narrator. Despite these similarities, Armida abbandonata, unlike the earlier work, is generally considered by scholars of Monteverdi to be an opera, although Denis Stevens, translator of Monteverdi's letters, has termed it a "parergon" (subsidiary work) to Il Combattimento.Plans for Armida's performance were, however, cancelled when Duke Vincenzo died at the end of December 1627. On 4 February 1628, Striggio was still asking for a copy of Armida, perhaps to use in connection with the next duke's coronation. Monteverdi promised to send him one, but there is no confirmation that he did so. No trace of the music has been found, though Tomlinson has deduced some of its likely characteristics from Monteverdi's correspondence, including extensive use of the stile concitato effect. Although there is no record that Armida was ever performed in Mantua, Stevens has mooted the possibility that it may have been staged in Venice in 1628, since Monteverdi's reply to Striggio's February letter indicates that the work was in the hands of Girolamo Mocenigo, a wealthy...  Guess a valid title for it!
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[A]: Lost operas by Claudio Monteverdi


input: Please answer the following: Given the below context:  Elgar was contemptuous of folk music and had little interest in or respect for the early English composers, calling William Byrd and his contemporaries "museum pieces". Of later English composers, he regarded Purcell as the greatest, and he said that he had learned much of his own technique from studying Hubert Parry's writings. The continental composers who most influenced Elgar were Handel, Dvořák and, to some degree, Brahms. In Elgar's chromaticism, the influence of Wagner is apparent, but Elgar's individual style of orchestration owes much to the clarity of nineteenth-century French composers, Berlioz, Massenet, Saint-Saëns and, particularly, Delibes, whose music Elgar played and conducted at Worcester and greatly admired.Elgar began composing when still a child, and all his life he drew on his early sketchbooks for themes and inspiration. The habit of assembling his compositions, even large-scale ones, from scraps of themes jotted down randomly remained throughout his life. His early adult works included violin and piano pieces, music for the wind quintet in which he and his brother played between 1878 and 1881, and music of many types for the Powick Asylum band. Diana McVeagh in Grove's Dictionary finds many embryonic Elgarian touches in these pieces, but few of them are regularly played, except Salut d'Amour and (as arranged decades later into The Wand of Youth Suites) some of the childhood sketches. Elgar's sole work of note during his first spell in London in 1889–91, the overture Froissart, was a romantic-bravura piece, influenced by Mendelssohn and Wagner, but also showing further Elgarian characteristics. Orchestral works composed during the subsequent years in Worcestershire include the Serenade for Strings and Three Bavarian Dances. In this period and later, Elgar wrote songs and partsongs. W. H. Reed expressed reservations about these pieces, but praised the partsong The Snow, for female voices, and Sea Pictures, a cycle of five songs for contralto and orchestra which remains in the...  Guess a valid title for it!
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output:
Edward Elgar