Question: Who is the composer of the piece of which Atys is an instance, named after a beggar?

full_context: Document 1: The Court Beggar: The Court Beggar is a Caroline era stage play written by Richard Brome. It was first performed by the acting company known as Beeston's Boys at the Cockpit Theatre. It has sometimes been identified as the seditious play, performed at the Cockpit in May 1640, which the Master of the Revels moved to have suppressed. However, the play's most recent editor, Marion O'Connor, dates it to "no earlier than the end of November 1640, and perhaps in the first months of 1641".
Document 2: Over the Hills and Far Away (traditional song): ``Over the Hills and Far Away ''is a traditional British song, dating back to at least the late 17th century. One version was published in Thomas D'Urfey's Wit and Mirth, or Pills to Purge Melancholy; a very different one appeared in George Farquhar's 1706 play The Recruiting Officer. A version also appears in John Gay's The Beggar's Opera of 1728.
Document 3: A Harlot's Progress (opera): A Harlot's Progress is an opera in six scenes by the British composer Iain Bell which is based on William Hogarth's series of etchings of the same name. The libretto is by British author Peter Ackroyd.
Document 4: Artaserse (Vinci): Artaserse is an opera ("dramma per musica") in three acts composed by Leonardo Vinci to an Italian libretto by Metastasio. This was the first of many musical settings of arguably Metastasio's most popular libretto, and Vinci and Metastasio were known to have collaborated closely for the world premiere of the opera in Rome. This was the last opera Vinci composed before his death, and also considered to be his masterpiece, and is known among baroque opera enthusiasts for its florid vocal lines and taxing tessituras. It premiered during the carnival season on 4 February 1730 at the Teatro delle Dame in Rome. As women were banned from the opera stage in Rome in the 18th century, all the female roles in the original production were taken up by castrati. However, subsequent 18th-century productions outside Rome included women in the cast.
Document 5: Atys (Piccinni): In 1783 there was a second version of the opera produced by Piccinni and Marmontel. In order to satisfy the current trends in opera, they changed the ending to a "lieto fine", or happy ending, by rewriting entire sections of the original opera. In this second version "Atys" was returned to the stage of the Opéra in 1783, 1784, 1791 and 1792. In all, it was mounted at the Opéra on 65 dates before being dropped for good.
Document 6: Arcadie: "Revue Arcadie" remained in continuous publication until 1982 when the laws regarding homosexual conduct were changed to be identical with those relating to heterosexual behavior. Its emphasis on "dignity" and "respectability" led the "Revue Arcadie" to be increasingly out-of-step with the more revolutionary gay political organizations demanding civil rights for gay men and lesbians in France. Upon seeing that the review's message was no longer effective in creating social change and seeing more progressive organizations securing rights for homosexuals, the editors decided to cease publication.
Document 7: Strolling Actresses Dressing in a Barn: Strolling Actresses Dressing in a Barn is a painting from 1738 by British artist William Hogarth. It was reproduced as an engraving and issued with "Four Times of the Day" as a five print set in the same year. The painting depicts a company of actresses preparing for their final performance before the troupe is disbanded as a result of the Licensing Act 1737. Brought in as a result of John Gay's "Beggar's Opera" of 1728, which had linked Robert Walpole with the notorious criminal Jonathan Wild, the Licensing Act made it compulsory for new plays to be approved by the Lord Chamberlain, and, more importantly for the characters depicted, closed any non-patent theatres. The majority of the painting was completed before the Act was passed in 1737, but its passing into law was no surprise and it was the work of a moment for Hogarth to insert a reference to the Act itself into the picture.
Document 8: The Beggar's Opera: The Beggar's Opera is a ballad opera in three acts written in 1728 by John Gay with music arranged by Johann Christoph Pepusch. It is one of the watershed plays in Augustan drama and is the only example of the once thriving genre of satirical ballad opera to remain popular today. Ballad operas were satiric musical plays that used some of the conventions of opera, but without recitative. The lyrics of the airs in the piece are set to popular broadsheet ballads, opera arias, church hymns and folk tunes of the time.
Document 9: Advance Australia Fair: Since the original lyrics were written in 1879, there have been several changes, in some cases with the intent of increasing the anthem's inclusiveness and gender neutrality. Some of these were minor while others have significantly changed the song. The original song was four verses long. For its adoption as the national anthem, the song was cut from four verses to two. The first verse was kept largely as the 1879 original, except for the change in the first line from ``Australia's sons let us rejoice ''to`` Australians all let us rejoice''. The second, third and fourth verses of the original were dropped, in favour of a modified version of the new third verse which was sung at Federation in 1901.
Document 10: The Beggar's Opera: "The Beggar's Opera" premiered at the Lincoln's Inn Fields Theatre on 29 January 1728 and ran for 62 consecutive performances, the second longest run in theatre history up to that time (after 146 performances of Robert Cambert's "Pomone" in Paris in 1671). The work became Gay's greatest success and has been played ever since; it has been called "the most popular play of the eighteenth century." In 1920, "The Beggar's Opera" began a revival run of 1,463 performances at the Lyric Theatre in Hammersmith, London, which was one of the longest runs in history for any piece of musical theatre at that time.
Document 11: John Playford: John Playford (1623–1686/7) was a London bookseller, publisher, minor composer, and member of the Stationers' Company, who published books on music theory, instruction books for several instruments, and psalters with tunes for singing in churches. He is perhaps best known today for his publication of "The English Dancing Master" in 1651.
Document 12: Lancashire: Lancashire has a long and highly productive tradition of music making. In the early modern era the county shared in the national tradition of balladry, including perhaps the finest border ballad, "The Ballad of Chevy Chase", thought to have been composed by the Lancashire-born minstrel Richard Sheale. The county was also a common location for folk songs, including "The Lancashire Miller", "Warrington Ale" and "The soldier's farewell to Manchester", while Liverpool, as a major seaport, was the subject of many sea shanties, including "The Leaving of Liverpool" and "Maggie May", beside several local Wassailing songs. In the Industrial Revolution changing social and economic patterns helped create new traditions and styles of folk song, often linked to migration and patterns of work. These included processional dances, often associated with rushbearing or the Wakes Week festivities, and types of step dance, most famously clog dancing.
Document 13: Il re pastore: Metastasio wrote the libretto in 1751, basing it on a work by Torquato Tasso called "Aminta". The libretto was picked up when Mozart (just 19 at the time) and his father saw a performance of it set to music composed by Felice Giardini – Mozart's version, however was two acts rather than Giardini's three, and has a few substantial changes. Each act lasts for around an hour in performance. The Salzburg court chaplain Varesco was largely responsible for this editing of Metastasio's libretto.
Document 14: Mitridate, re di Ponto: Mozart wrote "Mitridate" while touring Italy in 1770. The musicologist Daniel E. Freeman has recently demonstrated that it was composed with close reference to the opera "La Nitteti" by Josef Mysliveček. The latter was the opera being prepared for production in Bologna when Mozart met Mysliveček for the first time with his father in March 1770. Mysliveček visited the Mozarts frequently in Bologna during the summer of 1770 while Wolfgang was working on "Mitridate". Mozart gained expertise in composition from his older friend and also incorporated some of his musical motives into his own operatic setting. The opera was first performed at the Teatro Regio Ducal, Milan, on 26 December 1770 (at the Milan Carnival). It was a success, having been performed twenty-one times despite doubts because of Mozart's extreme youth – he was 14 at the time. No revival took place until the 20th century. This opera features virtuoso arias for the principal roles, but only two ensemble numbers: the act 2 ending duet between Aspasia and Sifare ("Se viver non degg’io"), and the brief quintet that ends the opera, very characteristic of standard baroque opera seria where the opera ends with a short "coro" or "tutti" number.
Document 15: L'amico Fritz: While the opera enjoyed some success in its day and is probably Mascagni's most famous work after "Cavalleria rusticana", today it is performed far more rarely than "Cavalleria", which remains Mascagni's only enduringly popular work in America (though in Italy, "L'amico Fritz" and "Iris" are still in the active repertoire). The "Cherry Duet" between Fritz and Suzel in Act 2 is the best known piece in the opera and has never left the duet repertoire.
ground_truth: Johann Christoph Pepusch
sub_queries: Atys >> instance of Answer: opera
The Beggar's opera >> composer Answer: Johann Christoph Pepusch