Question: Given the below context:  Pierre Benjamin Monteux (pronounced [pjɛʁ mɔ̃.tø]; 4 April 1875 – 1 July 1964) was a French (later American) conductor. After violin and viola studies, and a decade as an orchestral player and occasional conductor, he began to receive regular conducting engagements in 1907.  He came to prominence when, for Sergei Diaghilev's Ballets Russes company between 1911 and 1914, he conducted the world premieres of Stravinsky's The Rite of Spring and other prominent works including Petrushka, Ravel's Daphnis et Chloé, and Debussy's Jeux. Thereafter he directed orchestras around the world for more than half a century. From 1917 to 1919 Monteux was the principal conductor of the French repertoire at the Metropolitan Opera in New York. He led the Boston Symphony Orchestra (1919–24), Amsterdam Concertgebouw Orchestra (1924–34), Orchestre Symphonique de Paris (1929–38) and San Francisco Symphony (1936–52).  In 1961, aged eighty-six, he accepted the chief conductorship of the London Symphony Orchestra, a post which he held until his death three years later.  Although known for his performances of the French repertoire, his chief love was the music of German composers, above all Brahms. He disliked recording, finding it incompatible with spontaneity, but he nevertheless made a substantial number of records. Monteux was well known as a teacher. In 1932 he began a conducting class in Paris, which he developed into a summer school that was later moved to his summer home in Les Baux in the south of France. After moving permanently to the US in 1942, and taking American citizenship, he founded a school for conductors and orchestral musicians in Hancock, Maine. Among his students in France and America who went on to international fame were Lorin Maazel, Igor Markevitch, Neville Marriner, Seiji Ozawa, André Previn  and David Zinman. The school in Hancock has continued since Monteux's death.  Guess a valid title for it!
Answer: Pierre Monteux


[Q]: Given the below context:  Apart from a single early work for unaccompanied choir ("Chanson à boire", 1922), Poulenc began writing choral music in 1936. In that year he produced three works for choir: Sept chansons (settings of verses by Éluard and others), Petites voix (for children's voices), and his religious work Litanies à la Vierge Noire, for female or children's voices and organ. The Mass in G major (1937) for unaccompanied choir is described by Gouverné as having something of a baroque style, with "vitality and joyful clamour on which his faith is writ large". Poulenc's new-found religious theme continued with Quatre motets pour un temps de pénitence (1938–39), but among his most important choral works is the secular cantata Figure humaine (1943). Like the Mass, it is unaccompanied, and to succeed in performance it requires singers of the highest quality. Other a cappella works include the Quatre motets pour le temps de Noël (1952), which make severe demands on choirs' rhythmic precision and intonation.Poulenc's major works for choir and orchestra are the Stabat Mater (1950), the Gloria (1959–60), and Sept répons des ténèbres (Seven responsories for Tenebrae, 1961–62). All these works are based on liturgical texts, originally set to Gregorian chant. In the Gloria, Poulenc's faith expresses itself in an exuberant, joyful way, with intervals of prayerful calm and mystic feeling, and an ending of serene tranquillity. Poulenc wrote to Bernac in 1962, "I have finished Les Ténèbres. I think it is beautiful. With the Gloria and the Stabat Mater, I think I have three good religious works. May they spare me a few days in Purgatory, if I narrowly avoid going to hell." Sept répons des ténèbres, which Poulenc did not live to hear performed, uses a large orchestra, but in Nichols's view it displays a new concentration of thought. To the critic Ralph Thibodeau, the work may be considered as Poulenc's own requiem and is "the most avant-garde of his sacred compositions, the most emotionally demanding, and the most interesting musically,...  Guess a valid title for it!
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[A]: Francis Poulenc


input: Please answer the following: Given the below context:  Yosemite Sam is the royal chef for a spoiled king (a caricature of Charles Laughton, who frequently played kings and similar heads of state).  On his way back to the castle from grocery shopping, Sam complains that the king never thanks him for his hard work in having to both pick up groceries and prepare meals three times every day, but that the king instead whines that Sam takes too long with preparing the meals, much to Sam's annoyance ("Cook!  Cook! Where's my lunch? Where's my dinner?"). This drives Sam to the point where he insults the king behind his back. After Sam prepares the king's latest meal, which consists of "Cornish Hen a la Westchester" and "Prime Rib of Mutton au Jus with kreplach Sauce Bordelaise," the king just kicks the dishes away and orders Sam to take it all away.  He then tells Sam he's fed up with having "variety" at his meals.  Wanting something different for real, the king orders Sam to fix him some hasenpfeffer.  Sam agrees to carry out the king's request, but doesn't know what hasenpfeffer is.  When Sam checks back just to make sure the king said the right word, the king answers the question by throwing a bowl of custard into Sam's face. Angry at this, Sam again insults the king behind his back ("OOH! I hate that honorable royal majestic graciousness!"). While Sam is looking up the recipe, Bugs Bunny knocks on the door and explains that as he's one of the rabbits residing in the king's royal forest, he's come to borrow a cup of diced carrots.  Sam just slams the door on Bugs and returns to the cookbook, only to discover that hasenpfeffer is a dish that includes a rabbit as one of the ingredients.  Realizing whom he had just shooed away, Sam rushes out after Bugs. Sam manages to trick Bugs into thinking that the king has invited Bugs for dinner. Bugs demurs, saying that he is not prepared; but Sam assures Bugs that he will "prepare" him.  Guess a valid title for it!
++++++++++
output:
Shishkabugs