Question: This work that precedes Igor Stravinsky's Cantana is composed of how many acts?

full_context: Document 1: Candide (operetta): Candide is an operetta with music composed by Leonard Bernstein, based on the 1759 novella of the same name by Voltaire. The operetta was first performed in 1956 with a libretto by Lillian Hellman; but since 1974 it has been generally performed with a book by Hugh Wheeler which is more faithful to Voltaire's novel. The primary lyricist was the poet Richard Wilbur. Other contributors to the text were John Latouche, Dorothy Parker, Lillian Hellman, Stephen Sondheim, John Mauceri, John Wells, and Bernstein himself. Maurice Peress and Hershy Kay contributed orchestrations. Although unsuccessful at its premiere, "Candide" has now overcome the unenthusiastic reaction of early audiences and critics and achieved enormous popularity. It is very popular among major music schools as a student show because of the quality of its music and the opportunities it offers to student singers.
Document 2: The Bear (opera): The Bear is the second of the two operas by William Walton, described in publication as an "Extravaganza in One Act". The libretto was written by Paul Dehn and Walton, based on the play of the same title by Anton Chekhov (which is also sometimes translated into English as "The Boor").
Document 3: Serenade (Stravinsky): Serenade in A is a composition for solo piano by Russian composer Igor Stravinsky. It was completed on September 9, 1925, in Vienna, and published by Boosey & Hawkes This work was composed as a result of his signing his first recording contract for Brunswick, so Stravinsky wrote the piece in a way that each movement would fit on one side of a 78 rpm gramophone record. It was dedicated to his wife.
Document 4: Sonata for Two Pianos (Stravinsky): Sonata for Two Pianos is a composition by Russian composer Igor Stravinsky, premiered in 1944 by Richard Johnston and Nadia Boulanger. First conceived as a solo work, Stravinsky needed to write it for four hands to voice all four melodic lines clearly. It is considered one of Stravinsky's most important compositions for two solo pianos, together with Concerto for Two Pianos.
Document 5: Le Visage nuptial: Le Visage nuptial ("The Nuptial Face") is a secular cantata for soprano, contralto, choir of women and orchestra by Pierre Boulez. Originally composed in 1946–47 on a poem by René Char for two voices, two ondes Martenot, piano and percussion, the work, revised in 1951–52 in a version for voices and orchestra, was premiered on 4 December 1957 in Cologne conducted by the composer. The score was further revised in 1989, removing the quarter tones present in the second and fifth parts of the 1951–52 version, while revising the orchestration. A version with final revisions by the composer was premiered on 25 February 2014 at the Cité de la Musique in Paris during the closing concert of the festival "Présences" of Radio France.
Document 6: Chant de Linos: Chant de Linos is a work for flute and piano written by French composer André Jolivet in 1944 as a commission for a Paris Conservatoire competition which was subsequently won by Jean-Pierre Rampal. He transcribed it for flute, violin, viola, cello and harp the same year. The piece has since become a staple of the modern flute repertoire.
Document 7: Stinkfoot, a Comic Opera: Stinkfoot, a Comic Opera is an English musical with book, music, and lyrics by Vivian Stanshall and Ki Longfellow-Stanshall written for the Crackpot Theatre Company aboard the Old Profanity Showboat in Bristol, England. The show is based on a series of tales written by Longfellow about Stinkfoot, a New York City alley cat, a bit of a rogue and more than a bit of a rake. It had been intended for children, but when told by a New York City literary agent that “No mother in America would want her child identifying with Stinkfoot the alley cat, never mind its name,” the story went into a drawer for many years. It came out with the meeting in 1977 of Vivian and Ki, at which point the story became bedtime reading for Vivian's son Rupert Stanshall (born 1968), and later for his daughter with Ki, Silky Longfellow-Stanshall (born 1979). In 1985 it “grew up” when Vivian and Ki decided to base a musical on its lead character, Stinkfoot. At that point, it became a melding of two very different visions and two very different musical traditions: Vivian’s days as frontman for the Bonzo Dog Band and his childhood in Leigh-on-Sea with Ki’s love of America’s Broadway.
Document 8: Threni (Stravinsky): Threni: id est Lamentationes Jeremiae Prophetae, usually referred to simply as Threni, is a musical setting by Igor Stravinsky of verses from the Book of Lamentations in the Latin of the Vulgate, for solo singers, chorus and orchestra. It is important among Stravinsky's compositions as his first and longest completely dodecaphonic work, but is not often performed. It has been described as "austere" but also as a "culminating point" in his career as an artist, "important both spiritually and stylistically" and "the most ambitious and structurally the most complex" of all his religious compositions, and even "among Stravinsky's greatest works".
Document 9: Concerto in E-flat &quot;Dumbarton Oaks&quot;: Concerto in E-flat, subtitled Dumbarton Oaks 8-v-1938 (1937–38) is a chamber concerto by Igor Stravinsky, named for the Dumbarton Oaks estate of Robert Woods Bliss and Mildred Barnes Bliss in Washington, DC, who commissioned it for their thirtieth wedding anniversary. Composed in Stravinsky's neo-classical period, the piece is one of Stravinsky's two chamber concertos (the other being the Concerto in D, for strings, 1946) and is scored for a chamber orchestra of flute, B♭ clarinet, bassoon, two horns, three violins, three violas, two cellos, and two double basses. The three movements, Tempo giusto, Allegretto, and Con moto, performed without a break, total roughly twelve minutes. The concerto was heavily inspired by Bach's set of Brandenburg Concertos, and was the last work Stravinsky completed in Europe, started in spring 1937 at the Château de Montoux near Annemasse, near Geneva, Switzerland, and finished in Paris on March 29, 1938 .
Document 10: Cantata (Stravinsky): The Cantata by Igor Stravinsky is a work for soprano, tenor, female choir, and instrumental ensemble (of two flutes, oboe, cor anglais (doubling second oboe), and cello), and was composed from April 1951 to August 1952. The premiere performance on 11 November 1952 was by the Los Angeles (Chamber) Symphony Society (to whom the work is dedicated), conducted by Stravinsky himself. After completing the opera "The Rake's Progress", Stravinsky felt the urge to compose another work setting English words, but in a non-dramatic form .
Document 11: La cetra (Vivaldi): La cetra, Op. 9, is a set of twelve violin concertos by Antonio Vivaldi, published in 1727. All of them are for violin solo, strings, and basso continuo, except No. 9 in B flat, which features two solo violins. The set was named after the cetra, a lyre-like instrument, and was dedicated to Emperor Charles VI.
Document 12: The Rake's Progress: The Rake's Progress is an opera in three acts and an epilogue by Igor Stravinsky. The libretto, written by W. H. Auden and Chester Kallman, is based loosely on the eight paintings and engravings "A Rake's Progress" (1733–1735) of William Hogarth, which Stravinsky had seen on 2 May 1947, in a Chicago exhibition.
Document 13: The Rite of Spring: The Rite of Spring (French: Le Sacre du printemps ; Весна священная, "Vesna svyashchennaya", "sacred spring" ) is a ballet and orchestral concert work by the Russian composer Igor Stravinsky. It was written for the 1913 Paris season of Sergei Diaghilev's Ballets Russes company; the original choreography was by Vaslav Nijinsky, with stage designs and costumes by Nicholas Roerich. When first performed, at the Théâtre des Champs-Élysées on 29 May 1913, the avant-garde nature of the music and choreography caused a sensation and a near-riot in the audience. Although designed as a work for the stage, with specific passages accompanying characters and action, the music achieved equal if not greater recognition as a concert piece, and is widely considered to be one of the most influential musical works of the 20th century.
Document 14: L'Histoire du soldat: L'Histoire du soldat (The Soldier's Tale) is a theatrical work "to be read, played, and danced" ("lue, jouée et dansée ") by three actors and one or several dancers, accompanied by a septet of instruments. The piece was conceived by Igor Stravinsky and Swiss writer C. F. Ramuz based on a Russian folk tale ("The Runaway Soldier and the Devil") drawn from the collection of Alexander Afanasyev.
Document 15: Io (opera): "Io"'s unfinished state meant that it was once believed to be Rameau's last opera, but it contains a duet which appears in revised form in "Les fêtes de Polymnie" (1745). This has led the musicologist Graham Sadler to conclude that "Io" must predate 1745 and that the librettist was Louis de Cahusac, who also wrote the words for "Les fêtes", because French librettists did not borrow from other writers.
ground_truth: three