Given the below context:  By 1930, Szigeti was established as a major international concert violinist. He performed extensively in Europe, the United States and Asia, and made the acquaintance of many of the era's leading instrumentalists, conductors and composers. In 1939, to escape the war and Nazi persecution of the Jews, Szigeti emigrated with his wife to the United States, where they settled in California. (A year later, Bartók also fled to America, and just two days after his arrival, he and Szigeti played a sonata recital at the Library of Congress in Washington, D.C.)During the 1930s, 1940s and into the 1950s, Szigeti recorded extensively, leaving a significant legacy.  Notable recordings include the above-mentioned Library of Congress sonata recital; the studio recording of Bartók's Contrasts with Benny Goodman on clarinet and the composer at the piano; the violin concertos of Beethoven, Brahms, Mendelssohn, Prokofiev (No. 1) and Bloch under the batons of such conductors as Bruno Walter, Hamilton Harty and Sir Thomas Beecham; and various works by J.S. Bach, Busoni, Corelli, Handel and Mozart. One of his last recordings was of the Six Sonatas and Partitas for solo violin by Bach; although his technique had deteriorated noticeably by that time, the recording is prized for Szigeti's insight and depth of interpretation.In 1950, Szigeti was detained at Ellis Island upon returning from a European concert tour and was held for several days, officially "temporarily excluded" from the country. The reasons for his detention remain unclear. The following year, he became a naturalized American citizen.  Guess a valid title for it!
Ans: Joseph Szigeti

Given the below context:  Discounting his collaboration with Dukas in the completion of Guiraud's unfinished Frédégonde, Saint-Saëns wrote twelve operas, two of which are opéras comiques. During the composer's lifetime his Henry VIII became a repertory piece; since his death only Samson et Dalila has been regularly staged, although according to Schonberg, Ascanio (1890) is considered by experts to be a much finer work. The critic Ronald Crichton writes that for all his experience and musical skill, Saint-Saëns "lacked the 'nose' of the theatre animal granted, for example, to Massenet who in other forms of music was his inferior". In a 2005 study, the musical scholar Steven Huebner contrasts the two composers: "Saint-Saëns obviously had no time for Massenet's histrionics". Saint-Saëns's biographer James Harding comments that it is regrettable that the composer did not attempt more works of a light-hearted nature, on the lines of La princesse jaune, which Harding describes as like Sullivan "with a light French touch".Although most of Saint-Saëns's operas have remained neglected, Crichton rates them as important in the history of French opera, as "a bridge between Meyerbeer and the serious French operas of the early 1890s". In his view, the operatic scores of Saint-Saëns have, in general, the strengths and weaknesses of the rest of his music – "lucid Mozartian transparency, greater care for form than for content ... There is a certain emotional dryness; invention is sometimes thin, but the workmanship is impeccable." Stylistically, Saint-Saëns drew on a range of models. From Meyerbeer he drew the effective use of the chorus in the action of a piece; for Henry VIII he included Tudor music he had researched in London; in La princesse jaune he used an oriental pentatonic scale; from Wagner he derived the use of leitmotifs, which, like Massenet, he used sparingly. Huebner observes that Saint-Saëns was more conventional than Massenet so far as through composition is concerned, more often favouring discrete arias and ensembles, with less...  Guess a valid title for it!
Ans: Camille Saint-Saëns

Given the below context:  Philip Arnold Heseltine (30 October 1894 – 17 December 1930), known by the pseudonym Peter Warlock, was a British composer and music critic. The Warlock name, which reflects Heseltine's interest in occult practices, was used for all his published musical works. He is best known as a composer of songs and other vocal music; he also achieved notoriety in his lifetime through his unconventional and often scandalous lifestyle. As a schoolboy at Eton College, Heseltine met the British composer Frederick Delius, with whom he formed a close friendship. After a failed student career in Oxford and London, Heseltine turned to musical journalism, while developing interests in folk-song and Elizabethan music. His first serious compositions date from around 1915. Following a period of inactivity, a positive and lasting influence on his work arose from his meeting in 1916 with the Dutch composer Bernard van Dieren; he also gained creative impetus from a year spent in Ireland, studying Celtic culture and language. On his return to England in 1918, Heseltine began composing songs in a distinctive, original style, while building a reputation as a combative and controversial music critic.  During 1920–21 he edited the music magazine The Sackbut. His most prolific period as a composer came in the 1920s, when he was based first in Wales and later at Eynsford in Kent. Through his critical writings, published under his own name, Heseltine made a pioneering contribution to the scholarship of early music. In addition, he produced a full-length biography of Frederick Delius and wrote, edited, or otherwise assisted the production of several other books and pamphlets. Towards the end of his life, Heseltine became depressed by a loss of his creative inspiration. He died in his London flat of coal gas poisoning in 1930, probably by his own hand.  Guess a valid title for it!
Ans: Peter Warlock

Given the below context:  Writer David Lipsky is dismayed to hear about the suicide of novelist David Foster Wallace in 2008. He had interviewed the author over a period of days twelve years earlier, following the publication of Wallace's novel Infinite Jest, which received critical praise and became an international bestseller, a touchstone for numerous readers. He listens to the recordings he made during their time together. The film returns to the period shortly after the book's release. Although initially skeptical of the high praise Wallace's book is receiving, Lipsky – a writer having only marginal success – is awestruck after reading it. He persuades his editor at Rolling Stone magazine to give him an assignment to interview Wallace during his book tour. The journalist travels to meet Wallace at his home on the outskirts of Bloomington-Normal, Illinois (near Illinois State University where the author teaches writing). Lipsky finds the young author unassuming and amiable, but indifferent to being interviewed. Wallace permits Lipsky to tape-record their conversations, with the proviso that Lipsky won't use any direct quotes which Wallace asks to have taken "off the record" five minutes later. Wallace opens up to Lipsky on a variety of subjects, ranging from dogs to television to fame and self-identity, but remains somewhat guarded. He tacitly admits to alcoholism, but offers few details of his experience. Lipsky's mention of Wallace's brief voluntary institutionalization under a suicide watch causes some friction between them.  Guess a valid title for it!
Ans: The End of the Tour