[Q]: Given the below context:  In September 1930 Heseltine moved with Barbara Peache into a basement flat at 12a Tite Street in Chelsea. With no fresh creative inspiration, he worked in the British Museum to transcribe the music of English composer Cipriani Potter, and made a solo version of "Bethlehem Down" with organ accompaniment. On the evening of 16 December Heseltine met with Van Dieren and his wife for a drink and invited them home afterwards. According to Van Dieren, the visitors left at about 12:15 a.m. Neighbours later reported sounds of movement and of a piano in the early morning. When Peache, who had been away, returned early on 17 December, she found the doors and windows bolted, and smelled coal gas. The police broke into the flat and found Heseltine unconscious; he was declared dead shortly afterwards, apparently as the result of coal gas poisoning.An inquest was held on 22 December; the jury could not determine whether the death was accidental or suicide and an open verdict was returned. Most commentators have considered suicide the more likely cause; Heseltine's close friend Lionel Jellinek and Peache both recalled that he had previously threatened to take his life by gas and the outline of a new will was found among the papers in the flat. Much later, Nigel Heseltine introduced a new theory—that his father had been murdered by Van Dieren, the sole beneficiary of Heseltine's 1920 will, which stood to be revoked by the new one. This theory is not considered tenable by most commentators. The suicide theory is supported (arguably), by the (supposed, accepted) fact that Heseltine/Warlock had put his young cat outside the room before he had turned on the lethal gas.Philip Heseltine was buried alongside his father at Godalming cemetery on 20 December 1930. In late February 1931, a memorial concert of his music was held at the Wigmore Hall; a second such concert took place in the following December.In 2011 the art critic Brian Sewell published his memoirs, in which he claimed that he was Heseltine's illegitimate son, born in...  Guess a valid title for it!
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[A]: Peter Warlock


input: Please answer the following: Given the below context:  The Symphony No. 8 in E-flat major by Gustav Mahler is one of the largest-scale choral works in the classical concert repertoire. Because it requires huge instrumental and vocal forces it is frequently called the "Symphony of a Thousand", although the work is normally presented with far fewer than a thousand performers and the composer did not sanction that name. The work was composed in a single inspired burst, at Maiernigg in southern Austria in the summer of 1906. The last of Mahler's works that was premiered in his lifetime, the symphony was a critical and popular success when he conducted the Munich Philharmonic in its first performance, in Munich, on 12 September 1910. The fusion of song and symphony had been a characteristic of Mahler's early works. In his "middle" compositional period after 1901, a change of direction led him to produce three purely instrumental symphonies. The Eighth, marking the end of the middle period, returns to a combination of orchestra and voice in a symphonic context. The structure of the work is unconventional; instead of the normal framework of several movements, the piece is in two parts. Part I is based on the Latin text of a 9th-century Christian hymn for Pentecost, Veni creator spiritus ("Come, Creator Spirit"), and Part II is a setting of the words from the closing scene of Goethe's Faust. The two parts are unified by a common idea, that of redemption through the power of love, a unity conveyed through shared musical themes. Mahler had been convinced from the start of the work's significance; in renouncing the pessimism that had marked much of his music, he offered the Eighth as an expression of confidence in the eternal human spirit. In the period following the composer's death, performances were comparatively rare. However, from the mid-20th century onwards the symphony has been heard regularly in concert halls all over the world, and has been recorded many times. While recognising its wide popularity, modern critics have divided opinions on the work; Theodor W....  Guess a valid title for it!
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output: Symphony No. 8 (Mahler)


Problem: Given the below context:  Grunge is generally characterized by a sludgy electric guitar sound with a "thick" middle register and rolled-off treble tone and a high level of distortion and fuzz, typically created with small 1970s-style stompbox pedals, with some guitarists chaining several fuzz pedals together and plugging them into a tube amplifier and speaker cabinet. Grunge guitarists use very loud Marshall guitar amplifiers  and some used powerful Mesa-Boogie amplifiers, including Kurt Cobain and Dave Grohl (the latter in early, grunge-oriented Foo Fighters songs ). Grunge has been called the rock genre with the most "lugubrious sound"; the use of heavy distortion and loud amps has been compared to a massive "buildup of sonic fog". or even dismissed as "noise" by one critic. As with metal and punk, a key part of grunge's sound is very distorted power chords played on the electric guitar.Whereas metal guitarists' overdriven sound generally comes from a combination of overdriven amplifiers and distortion pedals, grunge guitarists typically got all of their "dirty" sound from overdrive and fuzz pedals, with the amp just used to make the sound louder. Grunge guitarists tended to use the Fender Twin Reverb and the Fender Champion 100 combo amps (Cobain used both of these amps). The use of pedals by grunge guitarists was a move away from the expensive, studio-grade rackmount effects units used in other rock genres. The positive way that grunge bands viewed stompbox pedals can be seen in Mudhoney's use of the name of two overdrive pedals, the Univox Super-Fuzz and the Big Muff, in the title of their "debut EP Superfuzz Bigmuff".  In the song Mudride, the band's guitars were said to have "growled malevolently" through its "Cro-magnon slog".  Guess a valid title for it!

A:
Grunge