[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:  A few months before the D-Day landings during the Second World War, the British government decides to launch a campaign of disinformation; spreading a rumour that the landings just might take place at a location other than Normandy. The details of the operation (actually, there were several such operations) are handed to two intelligence officers, Colonel Logan and Major Harvey. They are initially unable to devise such a plan – but one night, Harvey sees an actor at a London theatre, putting on a convincing impression of General Bernard Montgomery. Logan and Harvey discover that the actor is M. E. Clifton James (who plays himself in the film), a lieutenant stationed in Leicester with the Royal Army Pay Corps and that he was a professional actor in peacetime. He is called to London, on the pretext that he is to make a test for an army film, and a plan is devised that he should tour North Africa, impersonating 'Monty'. 'Jimmy' as Harvey calls him, is doubtful that he can carry off an impersonation of Montgomery, especially with his air of command, but with time running short and no options open to him, he agrees. Disguised as a corporal, he spends some days at Montgomery's headquarters and learns to copy the general's mannerisms and style. After an interview with the general himself, he is sent off to tour North Africa. Accompanied by Harvey, who has been 'promoted' to brigadier for his cover as Montgomery's aide-de-camp, 'Jimmy' arrives at Gibraltar, where the governor, who has known the general for years, can't get over the likeness. To further foster the deception, a local businessman and known German agent, Karl Nielson, is invited to dinner, knowing that he will spread the information. This happens quickly and their aeroplane is (unsuccessfully) attacked on leaving Gibraltar.  Guess a valid title for it!
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[A]: I Was Monty's Double (film)


[Q]: 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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[A]:
Edward Elgar