Question: The melody of "Baubles, Bangles & Beads"  was based on works by a composer that died in what year?

full_context: Document 1: 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 2: Rhapsody in Blue: Rhapsody in Blue is a 1924 musical composition by American composer George Gershwin for solo piano and jazz band, which combines elements of classical music with jazz-influenced effects.
Document 3: Caravan (1936 song): "Caravan" is a jazz standard composed by Juan Tizol and Duke Ellington, and first performed by Ellington in 1936. Irving Mills wrote seldom performed lyrics. Its exotic sound interested exotica musicians; Martin Denny, Arthur Lyman, and Gordon Jenkins all covered it. Woody Allen used the song in two of his films, "Alice" and "Sweet and Lowdown". The song is also heavily featured in the 2014 film "Whiplash" as an important plot element. The Mills Brothers recorded an a cappella version, making the instruments' sounds with their voices, and Johnny Mathis recorded the song in 1956. There are more than 350 recordings of this song by Duke Ellington's orchestra, the great majority of them now in the public domain.
Document 4: Baubles, Bangles, &amp; Beads: "Baubles, Bangles & Beads" is a popular song from the 1953 musical "Kismet", credited to Robert Wright and George Forrest. Like all the music in that show, the melody was based on works by Alexander Borodin, in this case the second theme of the second movement of his "String Quartet in D." The "Kismet" setting maintains the original's 3/4 waltz rhythm; pop music settings change the rhythm to a moderate four-beat accompaniment. Jazz musicians are especially drawn to the song's beguiling melody and advanced harmonic structure. The familiar AA'BA+Coda structure of the song is energized by a key change up a major third interval for every section; the transition is marked by a bracing harmonic progression from the central major key of one section to the tritone minor key of the following section. Jazz players and singers have enjoyed the musical challenges of this song for decades.
Document 5: Alexander Alyabyev: Alexander Aleksandrovich Alyabyev (Russian: Алекса́ндр Алекса́ндрович Аля́бьев ; 15 August [O.S. 4 August] 1787 6 March [O.S. 22 February] 1851 ), also rendered as Alabiev or Alabieff, was a Russian composer known as one of the fathers of the Russian art song. He wrote seven operas, twenty musical comedies, a symphony, three string quartets, more than 200 songs, and many other pieces.
Document 6: Nikolai Rimsky-Korsakov: Nikolai Andreyevich Rimsky-Korsakov (18 March [O.S. 6 March] 1844 21 June [O.S. 8 June] 1908 ) was a Russian composer, and a member of the group of composers known as The Five. He was a master of orchestration. His best-known orchestral compositions—"Capriccio Espagnol", the "Russian Easter Festival Overture", and the symphonic suite "Scheherazade"—are staples of the classical music repertoire, along with suites and excerpts from some of his 15 operas. "Scheherazade" is an example of his frequent use of fairy tale and folk subjects.
Document 7: Alexander Borodin: Alexander Porfiryevich Borodin (Russian: Алекса́ндр Порфи́рьевич Бороди́н ; ] , 12 November 183327 February 1887) was a Russian Romantic composer of Georgian origin, as well as a doctor and chemist. He was one of the prominent 19th century composers known as The Mighty Handful, a group dedicated to producing a uniquely Russian kind of classical music, rather than imitating earlier Western European models.
Document 8: The Mighty Handful: The Mighty Handful (Russian: Могучая кучка ), also known as The Five and The New Russian School, were five prominent 19th-century Russian composers who worked together to create a distinctly Russian classical music. Mily Balakirev (the leader), César Cui, Modest Mussorgsky, Nikolai Rimsky-Korsakov and Alexander Borodin all lived in Saint Petersburg, and collaborated from 1856 to 1870.
Document 9: Waltz (music): A waltz (German: "Walzer"; French: "Valse", Italian: "Valzer", Spanish: "Vals", Polish: "Walc"), probably deriving from German "Ländler", is dance music in triple meter, often written in  time. A waltz typically sounds one chord per measure, and the accompaniment style particularly associated with the waltz is (as seen in the example to the right) to play the root of the chord on the first beat, the upper notes on the second and third beats.
Document 10: Modest Mussorgsky: Modest Petrovich Mussorgsky (Russian: Моде́ст Петро́вич Му́соргский ; ] ; 21 March [O.S. 9 March] 1839 – 28 March [O.S. 16 March] 1881 ) was a Russian composer, one of the group known as "The Five". He was an innovator of Russian music in the romantic period. He strove to achieve a uniquely Russian musical identity, often in deliberate defiance of the established conventions of Western music.
Document 11: Alexander Scriabin: Alexander Nikolayevich Scriabin ( ; Russian: Алекса́ндр Никола́евич Скря́бин , ] ; 6 January 1872 [O.S. 25 December 1871] – 27 April [O.S. 14 April] 1915 ) was a Russian composer and pianist. Scriabin, who was influenced early in his life by the works of Frédéric Chopin, composed works that are characterised by a highly tonal idiom (these works are associated with his "first stage" of compositional output). Later in his career, independently of Arnold Schoenberg, Scriabin developed a substantially atonal and much more dissonant musical system, which accorded with his personal brand of mysticism. Scriabin was influenced by synesthesia, and associated colours with the various harmonic tones of his atonal scale, while his colour-coded circle of fifths was also influenced by theosophy. He is considered by some to be the main Russian Symbolist composer.
Document 12: Porgy and Bess: A Symphonic Picture: Arranged by Gershwin's good friend and sometimes assistant Robert Russell Bennett in 1942, Porgy and Bess: A Symphonic Picture includes most of the best-known songs from the Gershwin opera "Porgy and Bess", although not exactly in the order of their appearance. Though the Symphonic Picture is sometimes dismissed as a sequence of the opera's "greatest hits," the first well-known melody, "Summertime," is not heard until nearly seven minutes into the work. While some of the more esoteric parts of the opera are absent, much of the catchier tunes can be heard only in this suite and not in others, as Gershwin neglected to include them in his "Catfish Row Suite", which tended to highlight the more cerebral elements of the work.
Document 13: Prelude in C-sharp minor (Rachmaninoff): Prelude in C-sharp minor (Russian: Прелюдия ), Op. 3, No. 2, is one of Sergei Rachmaninoff's most famous compositions. It is a ternary (ABA) prelude for piano in C-sharp minor, 62 bars long, and part of a set of five pieces entitled "Morceaux de fantaisie"; and also known as "The Bells of Moscow" since the introduction seems to reproduce the Kremlin's most solemn carillon chimes.
Document 14: Pyotr Ilyich Tchaikovsky and The Five: In mid- to late-19th-century Russia, Pyotr Ilyich Tchaikovsky and a group of composers known as The Five had differing opinions as to whether should be composed following Western or native practices. Tchaikovsky wanted to write professional compositions of such quality that they would stand up to Western scrutiny and thus transcend national barriers, yet remain distinctively Russian in melody, rhythm and other compositional characteristics. The Five, made up of composers Mily Balakirev, Alexander Borodin, César Cui, Modest Mussorgsky, and Nikolai Rimsky-Korsakov, sought to produce a specifically Russian kind of art music, rather than one that imitated older European music or relied on European-style conservatory training. While Tchaikovsky himself used folk songs in some of his works, for the most part he tried to follow Western practices of composition, especially in terms of tonality and tonal progression. Also, unlike Tchaikovsky, none of The Five were academically trained in composition; in fact, their leader, Balakirev, considered academicism a threat to musical imagination. Along with critic Vladimir Stasov, who supported The Five, Balakirev attacked relentlessly both the Saint Petersburg Conservatory, from which Tchaikovsky had graduated, and its founder Anton Rubinstein, orally and in print.
Document 15: Alexander Serov: Alexander Nikolayevich Serov (Russian: Алекса́ндр Никола́евич Серо́в , Saint Petersburg, 23 January [O.S. 11 January] 1820 – Saint Petersburg, 1 February [O.S. 20 January] 1871 ) was a Russian composer and music critic. He is notable as one of the most important music critics in Russia during the 1850s and 1860s and as the most significant Russian composer in the period between Dargomyzhsky's "Rusalka" and the works of Rimsky-Korsakov, Mussorgsky, and Tchaikovsky.
ground_truth: 1887