Please answer this: Given the below context:  After leaving the army in January 1919, Grainger refused an offer to become conductor of the Saint Louis Symphony Orchestra and  resumed his career as a concert pianist.  He  was soon performing around 120 concerts a year, generally to great critical acclaim, and in  April 1921 reached a wider audience by performing in a cinema, New York's Capitol Theatre. Grainger  commented that the huge audiences at these cinema concerts often showed greater appreciation for his playing than those at established concert venues such as Carnegie Hall and the Aeolian. In the summer of 1919 he led a course in piano technique at Chicago Musical College, the first of many such educational duties he would undertake in later years.Amid his concert and teaching duties, Grainger found time to re-score many of his works (a habit he continued throughout his life) and also to compose new pieces: his Children's March: Over the Hills and Far Away, and the orchestral version of The Power of Rome and the Christian Heart both originated in this period.   He also began to develop the technique of elastic scoring, a form of flexible orchestration  which enabled works to be  performed by different numbers of players and instrument types, from small chamber groups  up to full orchestral strength.In April 1921 Grainger moved with his mother to a large house in White Plains, New York. This was  his  home for the remainder of his life. From the beginning of 1922 Rose's health deteriorated sharply; she was suffering from  delusions and nightmares, and became  fearful that her illness would harm her son's career. Because of the closeness of the bond between the two, there had long been  rumours that  their relationship was incestuous;  in April 1922 Rose was directly challenged over this issue by her friend Lotta Hough. From her last letter to Grainger, dated 29 April, it seems that this confrontation unbalanced Rose; on 30 April, while Grainger was touring on the West Coast, she jumped to her death from an office window  on the 18th floor of the...  Guess a valid title for it!
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Answer: Percy Grainger


Problem: Given the below context:  The postwar period also saw the beginning of Bush's 20-year involvement with grand opera, a genre in which, although he achieved little commercial recognition, he was retrospectively hailed by critics as a master of British opera second only to Britten. His first venture, Wat Tyler, was  written in a form which Bush thought acceptable to the general British public; it was not his choice, he wrote, that the opera and its successors all found their initial audiences in East Germany.  When eventually staged in Britain in 1974 the opera, although well received at Sadler's Wells, seemed somewhat old-fashioned; Philip Hope-Wallace in The Guardian thought the ending degenerated into "a choral union cantata", and found the music pleasant but not especially memorable. Bush's three other major operas were all characterised by their use of "local" music: Northumbrian folk-song in the case of Men of Blackmoor, Guyanese songs and dances in The Sugar Reapers, and American folk music in Joe Hill –  the last-named used in a manner reminiscent of Kurt Weill and the German opera with which Bush had become familiar in the  early 1930s.The extent to which Bush's music  changed substantially after the war was addressed by Meirion Bowen, reviewing a Bush concert in the 1980s. Bowen noted a distinct contrast between early and late works, the former showing primarily the influences of Ireland and of Bush's European contacts, while in the later pieces the idiom was "often overtly folklike and Vaughan Williams-ish".  In general Bush's late works continued to show all the hallmarks of his postwar oeuvre: vigour, clarity of tone and  masterful use of counterpoint. The Lascaux symphony, written when he was 83, is the composer's final major orchestral statement, and addresses deep philosophical issues relating to the origins and destiny of mankind.  Guess a valid title for it!

A: Alan Bush


Q: Given the below context:  Naomi Bishop is a senior investment banker who deals with IPOs. After her latest project is undervalued she faces professional setbacks including clients losing confidence in her work. To bounce back she is hired to handle the IPO for Cachet, a privacy company with a social networking platform.  Around the same time Naomi bumps into Samantha Ryan, an old college classmate who now works as a public attorney. Unbeknownst to Naomi, Samantha is investigating Naomi's on-again, off-again boyfriend Michael Connor, a broker at the same firm as Naomi who Samantha suspects is involved in insider trading. Michael tries to get information from Naomi about Cachet but fails.  While doing due diligence, Naomi learns from Marin, one of the coders, that Cachet is hackable. Despite having a nagging feeling that something is wrong, the numbers check out and Naomi continues to try to sell the shares of the company to investors. Michael, who has had no new insider trading tips to pass on to his friends at investment firm Titanite, tries unsuccessfully to hack into Naomi's phone. Vice President Erin Manning, Naomi's assistant on the IPO, learns that Marin has been fired. To warn Naomi of this, she goes to Michael's home after not being able to reach Naomi and ends up leaking the information to him in the hope that he will be able to get her a promotion, something Naomi has been unable to do for her. Michael leaks the tips to his friends at Titanite and then sends the story to an old college roommate who is a tech journalist. Naomi figures out that it was Erin who betrayed her, based on her having a green pen, the same type of pen that Michael uses. When the shares open, confidence is lost and the company loses a third of its value on the first day of trading.  Guess a valid title for it!
A:
Equity (film)