[Q]: Given the below context:  Rachmaninoff's choral symphony The Bells reflected the four-part progression from youth to marriage, maturity, and death in Poe's poem. Britten reversed the pattern for his Spring Symphony—the four sections of the symphony represent, in its composer's words, "the progress of Winter to Spring and the reawakening of the earth and life which that means.... It is in the traditional four movement shape of a symphony, but with the movements divided into shorter sections bound together by a similar mood or point of view."The gestation of Shostakovich's Thirteenth Symphony, Babi Yar, was only slightly less straightforward. He set the poem Babi Yar by Yevgeny Yevtushenko almost immediately upon reading it, initially considering it a single-movement composition. Discovering three other Yevtushenko poems in the poet's collection Vzmakh ruki (A Wave of the Hand) prompted him to proceed to a full-length choral symphony, with "A Career" as the closing movement. Musicologist Francis Maes comments that Shostakovich did so by complementing Babi Yar's theme of Jewish suffering with Yevtushenko's verses about other Soviet abuses: "'At the Store' is a tribute to the women who have to stand in line for hours to buy the most basic foods,... 'Fears' evokes the terror under Stalin. 'A Career' is an attack on bureaucrats and a tribute to genuine creativity". Music historian Boris Schwarz adds that the poems, in the order Shostakovich places them, form a strongly dramatic opening movement, a scherzo, two slow movements and a finale.In other cases, the choice of text has led the composer to different symphonic structures. Havergal Brian allowed the form of his Fourth Symphony, subtitled "Das Siegeslied" (Psalm of Victory), to be dictated by the three-part structure of his text, Psalm 68; the setting of Verses 13–18 for soprano solo and orchestra forms a quiet interlude between two wilder, highly chromatic martial ones set for massive choral and orchestral forces. Likewise, Szymanowski allowed the text by 13th-century Persian poet Rumi...  Guess a valid title for it!
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[A]: Choral symphony


[Q]: Given the below context:  Makeba married Carmichael in March 1968; this caused her popularity in the US to decline markedly. Conservatives came to regard her as a militant and an extremist, an image which alienated much of her fanbase. Her performances were cancelled and her coverage in the press declined despite her efforts to portray her marriage as apolitical. White American audiences stopped supporting her, and the US government took an interest in her activities. The Central Intelligence Agency began following her, and placed hidden microphones in her apartment; the Federal Bureau of Investigation also placed her under surveillance. While she and her husband were travelling in the Bahamas, she was banned from returning to the US, and was refused a visa. As a result, the couple moved to Guinea, where Carmichael changed his name to Kwame Touré. Makeba did not return to the US until 1987.Guinea remained Makeba's home for the next 15 years, and she and her husband became close to President Ahmed Sékou Touré and his wife, Andrée. Touré wanted to create a new style of African music, and all musicians received a minimum wage if they practised for several hours every day. Makeba later stated that "I've never seen a country that did what Sékou Touré did for artists." After her rejection from the US she began to write music more directly critical of the US government's racial policies, recording and singing songs such as "Lumumba" in 1970, (referring to Patrice Lumumba, the assassinated Prime Minister of the Congo), and "Malcolm X" in 1974.  Guess a valid title for it!
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[A]: Miriam Makeba


[Q]: Given the below context:  Biographer Hannah Fink estimated that Oliver produced 290 works over a career of 22 years. Of these, public art works are Oliver's best known sculptures. These include Eyrie, created for Adelaide's Hyatt Hotel in 1993, and Magnolia and Palm, commissioned in 1999 by the Sydney Botanical Gardens, as part of the Sydney Sculpture Walk. That same year, Big Feathers was commissioned for the Queen Street Mall in Brisbane. It comprises two large feather-shaped forms suspended above the pedestrian precinct, representing "Queen Street's history of parades as well as the mall's connection between earth and sky".In 2000, Oliver's piece Entwine was a finalist in the inaugural Helen Lempriere National Sculpture Award, while in the following year, Oliver won the University of New South Wales inaugural sculpture commission competition, with her three-metre-high Globe. Other success followed, when Trace was selected for the National Gallery of Australia's 2002 National Sculpture Prize exhibition.In August 2002 she was one of five artists shortlisted by the Australian Government for a project to produce a public artwork celebrating the centenary of women's suffrage in Australia.By the 2000s most of Oliver's output constituted commissioned pieces, whether public or private. The most substantial of these is Vine, a 16.5 metre high sculpture installed as part of the $400 million refurbishment of the Sydney Hilton. Taking twelve months to create and requiring a budget of up to half million dollars, the work was completed in 2005. The sculpture was fabricated from 380 kilograms of aluminium, and assembled by a team of eight Croatian welders.By 2006, Oliver had held 18 solo exhibitions of her work, half of them at Roslyn Oxley9 Gallery, which represented her throughout her career as a sculptor. Only one of those solo exhibitions was held outside Australia: a 1992 exhibition at Auckland City Gallery. However, Oliver was represented in numerous international group shows, including five during the period 1983 to 1984, around the time...  Guess a valid title for it!
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[A]:
Bronwyn Oliver