Given the below context:  The chief building material of the church is buff sandstone, which came from the Goodrich Quarry (also called the Greystone Quarry) in the Almaden area of San Jose, was delivered by train and rough-cut in the university Quad.  Gregg credits the high quality of the stonework to church and university builder John D. McGilvray.  The church is roofed with terracotta tiles of the Italian imbrex and tegula form. The nave, chancel, and transepts appear to project from the square central structure, roofed with tiles and a small skylight above its center.  Memorial Church originally had a central bell tower with an 80-foot tall, twelve-sided spire, but this was lost as a result of the 1906 earthquake.The church's facade is surmounted by a simple Celtic cross, a motif that appears several times throughout the building.  The cross was added after the 1906 earthquake; its central shaft was destroyed in the Loma Prieta earthquake and replaced.  There are three arched entrances below the exterior mosaic; the central one is slightly larger than the others.  The surrounding stonework is intricately carved with stylized flora, twisted-cable moldings, and bosses of sculpted cherubim, a motif which occurs in different media throughout the church. In the spandrels are mosaic depictions of the biblical concepts of love, faith, hope and charity intertwined in a vine representing the "tree of life".In the upper zone of the facade, surrounded by more elaborate stonework and "lacy carving", is a large central window, with groups of three smaller windows on each side.  The original central window was a quatrefoil-shaped rose window, but after the 1906 earthquake, it was replaced by a "classical round-head window that more grandly restates the smaller flanking, articulated openings" and that corresponded with the mission-style architecture of the Quad.  Beneath the windows are inlaid panels of colored marble.  Guess a valid title for it!
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Answer: Stanford Memorial Church


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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Answer: Gustav Holst


Given the below context:  Gaby is a ballet dancer in 1944 London who runs into corporal Gregory Wendell while rushing to catch the bus. Greg is mesmerized by Gaby and goes to the ballet to see her on stage, but Gaby wants nothing to do with Greg. He persists, and by the end of the day, she agrees to marry him. Before they can marry, there is a mountain of red tape and Greg is shipped out suddenly for the D-Day landing, promising to marry her on his return. When she hears that he has been killed, Gaby becomes a prostitute as the only way to support herself (as in Waterloo Bridge). When a miracle happens, and he comes back to life, Gaby keeps telling Greg that she can't marry him, and he can't guess the correct reason. When she finally tells him, he is shocked speechless for a very long time and she runs away into a bombing raid. Greg drives after her in his father's car, then has to continue the pursuit on foot. He yells at her to "have a heart -- I am crippled." Just as a V-1's engine stops, indicating an imminent explosion, he tells Gaby to duck into a doorway, saving her life. He says, "If you had died just now, I would never have been able to love anyone else." Gaby asks how he could possibly love her after what circumstances had forced her to do, but he says, "Let's forget the terrible things this war made us do."  Guess a valid title for it!
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Answer:
Gaby (film)