Given the following context:  Stanford wrote of Bennett: He maintained his British characteristics throughout his life ...The English take a kind of pride in concealing their feelings and emotions, and this is reflected in their folk-song. The Thames has no rapids and no falls; it winds along under its woods in a gentle stream, never dry and never halting; it is the type of the spirit of English folkmusic ... England is as remote from Keltic fire and agony, as the Thames is from the Spey. Bennett was a typical specimen of this English characteristic. He was a poet, but of the school of Wordsworth rather than of Byron and Shelley. W. B. Squire wrote in 1885: His sense of form was so strong, and his refined nature so abhorred any mere seeking after effect, that his music sometimes gives the impression of being produced under restraint. He seldom, if ever, gave rein to his unbridled fancy; everything is justly proportioned, clearly defined, and kept within the limits which the conscientiousness of his self-criticism would not let him overstep. It is this which makes him, as has been said, so peculiarly a musician's composer: the broad effects and bold contrasts which an uneducated public admires are absent; it takes an educated audience to appreciate to the full the exquisitely refined and delicate nature of his genius. Temperley suggests that, despite his reverence for Mendelssohn, Bennett took Mozart as his model. Geoffrey Bush agrees that "[h]is best work, like his piano playing, was full of passion none the less powerful for being Mozartian (that is to say, perfectly controlled)", and characterizes him as "essentially a composer for the piano, a composer of the range (not necessarily the stature) of Chopin".  answer the following question:  What is the name of the person who seldom, if ever, gave rein to his unbridled fancy?
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Answer: Bennett

Q: Given the following context:  After this, Holst tackled his final attempt at opera in a cheerful vein, with The Wandering Scholar (1929–30), to a text by Clifford Bax. Imogen refers to the music as "Holst at his best in a scherzando (playful) frame of mind"; Vaughan Williams commented on the lively, folksy rhythms: "Do you think there's a little bit too much 6/8 in the opera?" Short observes that the opening motif makes several reappearances without being identified with a particular character, but imposes musical unity on the work.Holst composed few large-scale works in his final years. A Choral Fantasia of 1930 was written for the Three Choirs Festival at Gloucester; beginning and ending with a soprano soloist, the work, also involving chorus, strings, brass and percussion, includes a substantial organ solo which, says Imogen Holst, "knows something of the 'colossal and mysterious' loneliness of Egdon Heath". Apart from his final uncompleted symphony, Holst's remaining works were for small forces; the eight Canons of 1932 were dedicated to his pupils, though in Imogen's view that they present a formidable challenge to the most professional of singers. The Brook Green Suite (1932), written for the orchestra of St Paul's School, was a late companion piece to the St Paul's Suite. The Lyric Movement for viola and small orchestra (1933) was written for Lionel Tertis. Quiet and contemplative, and requiring little virtuosity from the soloist, the piece was slow to gain popularity among violists. Robin Hull, in Penguin Music Magazine, praised the work's "clear beauty—impossible to mistake for the art of any other composer"; in Dickinson's view, however, it remains "a frail creation". Holst's final composition, the orchestral scherzo movement of a projected symphony, contains features characteristic of much of Holst's earlier music—"a summing up of Holst's orchestral art", according to Short. Dickinson suggests that the somewhat casual collection of material in the work gives little indication of the symphony that might have been written.  answer the following question:  What was the name of the piece that was slow to gain popularity among violists?
A: The Lyric Movement

Given the following context:  Minogue's third album, Rhythm of Love was released in November 1990 and was described as "leaps and bounds more mature" than her previous albums. Her relationship with Michael Hutchence was also seen as part of her departure from her earlier persona. Its lead single, "Better the Devil You Know" peaked at number two in the UK and four in her native Australia. Rhythm of Love's second and fourth single, "Step Back in Time" and "Shocked" were both a top ten hit in the UK and Australia. She then embarked on the Rhythm of Love Tour in February 1991. Minogue's fourth album, Let's Get to It was released in October 1991 and reached number 15 on the UK Albums Chart. It was her first album to fail to reach the top ten. While the first single from the album, "Word Is Out", became her first single to miss the top ten of the UK Singles Chart, subsequent singles "If You Were with Me Now" and "Give Me Just a Little More Time" both reached the top five. In support of the album, she embarked on the Let's Get to It Tour in October. She later expressed her opinion that she was stifled by Stock, Aitken and Waterman, saying, "I was very much a puppet in the beginning. I was blinkered by my record company. I was unable to look left or right." Her first Greatest Hits album was released in August 1992. It reached number one in the United Kingdom and number three in Australia. The singles from the album, "What Kind of Fool" and her cover version of Kool & the Gang's "Celebration" both reached the top twenty of the UK Singles Chart.  answer the following question:  What is the name of the 1990 release whose lead single peaked at peaked at number two in the UK and four Minogue's native Australia?
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Answer:
Rhythm of Love