Title: The Sanguine Fan
Content:  The Sanguine Fan, Op. 81, is a single-act ballet written by Sir Edward Elgar in 1917. It was one of the pieces he composed to raise money for wartime charities, having been asked to write it by his close friend and confidante Lady Alice Stuart-Wortley. The theme of the ballet was inspired by a scene depicting Pan and Echo that the artist, Charles Conder, had drawn in sanguine on a fan, although the title itself is incidental to the theme. The first performance was part of the revue Chelsea on Tiptoe at the Chelsea Palace Theatre, London on March 20, 1917, and was conducted by the composer. Afterwards he added a further piece, a shepherd's dance, which received its premiere at a second charity performance in May. The piece did not find great favour with the public until the 1960s when the work was rediscovered by the conductor Sir Adrian Boult, who revived it in 1973. It also being the subject of his final performance on 24 June 1978 in a production by London Festival Ballet at the London Coliseum. An extract from the ballet, "Echo's Dance", as a piano solo, was published by Elkin in 1917.
Title: Sonnerie pour réveiller le bon gros Roi des Singes
Content:  The Sonnerie was commissioned by the new British periodical Fanfare: A Musical Causerie, edited by musicologist Leigh Vaughan Henry (1889-1958). Although it ran for only seven biweekly numbers (October 1, 1921 - January 1, 1922), it covered a wide range of contemporary musical subjects, from indigenous African to Russian avant-garde. Best known was its namesake feature of publishing original fanfares by noteworthy composers in each issue; Manuel de Falla, Granville Bantock, Arnold Bax, Sergei Prokofiev, Havergal Brian, Arthur Bliss, and Francis Poulenc were among those who contributed. Like his previous trumpet duet Marche de Cocagne (1919, later incorporated into the Trois petites pièces montées), Satie's Sonnerie is an example of pure Neoclassicism, though three times as long. Robert Orledge wrote of it as "a rare example of a 
Title: Sanguis Venenatus
Content:  possible rendering of ″Tainted Blood″. The score, completed in 2009, bears the inscription: ″This work is dedicated to all the haemophiliacs and others who have lost their lives through contaminated blood and blood products.″ In the April 2013 edition of the European Haemophilia Consortium newsletter, the composer talked in personal terms about what motivated him to write the elegy: "It is difficult to express in words exactly how I felt at losing so many of my friends, other than to say I was wracked with grief. As a composer, this build–up of emotion had to go somewhere and it is my wish that in writing the elegy, I have managed to capture some of this strength of feeling."
Title: Fanfare for a New Theatre
Content:  Fanfare for a New Theatre is a 1964 composition for two trumpets by Russian composer Igor Stravinsky. It was premiered on April 19, 1964, and published by Boosey & Hawkes.
Title: Fanfare
Content:  well-known composed fanfares include Aaron Copland's Fanfare for the Common Man (1942), for brass and percussion, and Igor Stravinsky's Fanfare for a New Theatre (1964), for two trumpets. Copland's Fanfare is one of a series of 18 commissioned by Cincinnati Symphony Orchestra conductor Eugene Goossens in 1942–43, each to open a concert. Each was to salute an aspect of the war effort; the U.S. had entered World War II the previous year. The only one of these fanfares to become well known is Copland's; the others are rarely if ever performed or recorded. The set, with the date of the concert at which each was performed, is: 
Title: Fanfare for the Uncommon Woman
Content:  The first and most popular of the Fanfares was commissioned by the Houston Symphony as part of the orchestra's Fanfare Project and was composed in 1986. It debuted on January 10, 1987, with the Houston Symphony conducted by Hans Vonk. It was originally inspired by Copland's Fanfare for the Common Man and employs the same instrumentation while adding the glockenspiel, marimba, chimes, and drums. The piece is about 2 minutes and 41 seconds long and is dedicated to the conductor Marin Alsop. It contains an opening flourish, huge percussion strokes, and then a galloping rhythm that pushes through the rest of the piece to reach the conclusion. The second Fanfare was written in 1989 and uses the same instrumentation as the first while adding percussion. 
Title: Fanfare for the Uncommon Woman
Content:  ASCAP. The fourth Fanfare was written in 1992 and was the only one in the series scored for full orchestra where the brass does not dominate. However, its propulsive rhythms and sheer energy qualify it as a fanfare. The piece was commissioned by the Kansas City Symphony, and premiered on October 16, 1992, conducted by William McGlaughlin. The piece is about 4 minutes and 35 seconds long. The fifth Fanfare was written in 1993 and was commissioned by the Aspen Music Festival for the opening of the Joan and Irving Harris Concert Hall in 1993. It is approximately 3 minutes long and is dedicated to conductor JoAnn Falletta. The sixth Fanfare was written in 2016 for full orchestra, commissioned for the Baltimore Symphony Orchestra.
Title: Fanfare Ritmico
Content:  Fanfare Ritmico is a single-movement orchestral composition by the American composer Jennifer Higdon. The work was commissioned by The Women's Philharmonic as part of The Fanfares Project. It was given its world premiere in March 2000 by conductor Apo Hsu and the Women's Philharmonic.
Title: Flambards (TV series)
Content:  The series's memorable score was composed by David Fanshawe, who is most famous for his 1972 composition African Sanctus. Of his score for Flambards Fanshawe later wrote, "On April 5th, 1977, I was on my way to give a talk about my travels in Africa to the Oxfam Annual Staff Conference in Abingdon when, quite by accident, I whistled something, whistled it again, drew five lines and wrote it down. On arrival, I sought out the nearest piano, played the chord of 'A' seventh and whistled again. Just before going on stage, I completed the first phrase by writing it out backwards and indeed whistled it backwards: and that was the beginning of 
Title: Eaton Faning
Content:  Joseph Eaton Faning (20 May 1850 – 28 October 1927), known as Eaton Faning, was an English composer and teacher. The son of a music teacher, he became the organist of a church at the age of twelve. He attended the Royal Academy of Music, where his teachers included Arthur Sullivan. He was an outstanding student, winning many awards. He joined the staff of the Academy in 1874 and later taught at the Guildhall School of Music, the Royal College of Music and Harrow School. As a composer, Faning's works ranged from operettas, including a one-act Savoy Opera, to church music, including a Mass and a Magnificat. He also composed orchestral music including a symphony, and was best known for his songs, of which the most popular was the part-song The Vikings.

Question: Who was the composer of The Sanguine Fan?
Answer: Edward Elgar.
Edward William Elgar.