Given the below context:  Like his predecessor Rafael Kubelík, and his successor Colin Davis, Solti found his early days as musical director marred by vituperative hostility from a small clique in the Covent Garden audience. Rotten vegetables were thrown at him, and his car was vandalised outside the theatre, with the words "Solti must go!" scratched on its paintwork. Some press reviews were strongly critical; Solti was so wounded by a review in The Times of his conducting of The Marriage of Figaro that he almost left Covent Garden in despair. The chief executive of the Opera House, Sir David Webster, persuaded him to stay with the company, and matters improved, helped by changes on which Solti insisted. The chorus and orchestra were strengthened, and in the interests of musical and dramatic excellence, Solti secured the introduction of the stagione system of scheduling performances, rather than the traditional repertory system. By 1967 The Times commented that "Patrons of Covent Garden today automatically expect any new production, and indeed any revival, to be as strongly cast as anything at the Met in New York, and as carefully presented as anything in Milan or Vienna".The company's repertory in the 1960s combined the standard operatic works with less familiar pieces. Among the most celebrated productions during Solti's time in charge was Schoenberg's Moses and Aaron in the 1965–66 and 1966–67 seasons. In 1970, Solti led the company to Germany, where they gave Don Carlos, Falstaff and Victory, a new work by Richard Rodney Bennett. The public in Munich and Berlin were, according to the Frankfurter Allgemeine Zeitung, "beside themselves with enthusiasm".Solti's bald head and demanding rehearsal style earned him the nickname "The Screaming Skull". A music historian called him "the bustling, bruising Georg Solti – a man whose entire physical and mental attitude embodied the words 'I'm in charge'." Singers such as Peter Glossop described him as a bully, and after working with Solti, Jon Vickers refused to do so again. Nevertheless,...  Guess a valid title for it!
Ans: Georg Solti

Given the below context:  The 1086 Domesday Book lists one of the two manors of Bromeselle (the Anglo-Norman spelling of Bromshyll) as held by Hugh de Port, whose family possessed it for nine generations. The last of the de Port line, William de Port (who had assumed the name St. John), died in 1346 without leaving a male heir.  In the early 14th century, Sir John Foxley, Baron of the Exchequer, (c. 1270 – c. 1325), built and endowed a chapel in the village of Bramshill. His first wife, Constance de Bramshill, may have been the heiress of the Bramshill family. Their son, Thomas Foxley (c. 1305–60), became MP for Berkshire in 1325, and was appointed constable of Windsor Castle in 1328, soon after the accession of the 14-year-old Edward III. In 1347 he obtained a licence to build a manor house or small castle at Bramshill, which included a 2,500-acre (1,000 ha) wooded park. The house, built between 1351 and 1360, had thick walls, vaulted cellars, and an internal courtyard measuring 100 feet (30 m) by 80 feet (24 m). Based on the similarity of the surviving vaults under Bramshill House and those under what became the servants' hall and steward's room at Windsor Castle, it may have been a copy of William of Wykeham's work there.The estate remained in the hands of the Foxley family and their heirs, the Essex family, until 1499, when it was sold to Giles Daubeney, 1st Baron Daubeney. Giles's son Henry Daubeney (later Earl of Bridgewater) sold the property to Henry VIII, and in 1547 Edward VI granted the estate to William Paulet, whose heirs sold it in 1600 to Sir Stephen Thornhurst of Agnes Court, Kent.  Guess a valid title for it!
Ans: Bramshill House

Given the below context:  Szigeti was an avid champion of new music, and frequently planned his recitals to include new or little-known works alongside the classics. Many composers wrote new works for him, notably Béla Bartók, Ernest Bloch, and Eugène Ysaÿe, along with lesser-known composers such as David Diamond and Hamilton Harty. The reason for Szigeti's appeal to composers was articulated by Bloch upon completion of his Violin Concerto: the concerto's premiere would have to be delayed a full year for Szigeti to be the soloist, and Bloch agreed, saying that Modern composers realize that when Szigeti plays their music, their inmost fancy, their slightest intentions become fully realized, and their music is not exploited for the glorification of the artist and his technique, but that artist and technique become the humble servant of the music. Szigeti was also the dedicatee of the first of Eugène Ysaÿe's Six Sonatas for Solo Violin; in fact, Ysaÿe's inspiration to compose the sonatas came from hearing Szigeti's performances of J.S. Bach's Six Sonatas and Partitas, to which they are intended as a modern counterpart.Perhaps Szigeti's most fruitful musical partnership was with his friend Béla Bartók. The first piece Bartók dedicated to him was the First Rhapsody for violin and orchestra (or piano) of 1928; the rhapsody, based on both Romanian and Hungarian folk tunes, was one of a pair of violin rhapsodies written in 1928 (the other being dedicated to Zoltán Székely.) In 1938, Szigeti and clarinetist Benny Goodman teamed up to commission a trio from Bartók: originally intended to be a short work just long enough to fill both sides of a 78 rpm record, the piece soon expanded beyond its modest intent and became the three-movement Contrasts for piano, violin and clarinet. In 1944, by which time Szigeti and Bartók had both fled to the United States to escape the war in Europe, Bartók's health was failing and he had sunk into depression. He was in dire need of money, but felt no inspiration to compose and was convinced that his works would...  Guess a valid title for it!
Ans: Joseph Szigeti