Question: What is the genre of the composer of Petite Suite?

full_context: Document 1: Frédéric Chopin: Chopin's music was used in the 1909 ballet Chopiniana, choreographed by Michel Fokine and orchestrated by Alexander Glazunov. Sergei Diaghilev commissioned additional orchestrations—from Stravinsky, Anatoly Lyadov, Sergei Taneyev and Nikolai Tcherepnin—for later productions, which used the title Les Sylphides.
Document 2: Introduction and Rondo Capriccioso: The Introduction and Rondo Capriccioso in A minor ( ), Op. 28, is a composition for violin and orchestra written in 1863 by Camille Saint-Saëns for the virtuoso violinist Pablo de Sarasate.
Document 3: Piece in F for Keyboard, K. 33B (Mozart): Mozart wrote this piece in pencil on the back of a circular by the Zürcher Musikkollegium (Zürich Music College) dated 30 September 1766, when the Mozart family came to the end of their Grand Tour. The circular invited sponsors, music lovers and other people who might be interested to concerts by "the young (9 years old) Master Mozart as well as his maiden sister" (Maria Anna – Nannerl) on October 7 and 9. It can be assumed that Mozart played or improvised this lively piece in one of those concerts, the programs to which are lost. Mozart wrote it on the back of the circular probably as a souvenir for the College's board; otherwise he would have used his sister's notebook or his third book of sketches (""), which is also lost. The autograph became known very late (in 1942), and so is missing from Alfred Einstein's 3rd edition of the Köchel catalogue.
Document 4: Frédéric Chopin: The last opus number that Chopin himself used was 65, allocated to the Cello Sonata in G minor. He expressed a deathbed wish that all his unpublished manuscripts be destroyed. At the request of the composer's mother and sisters, however, his musical executor Julian Fontana selected 23 unpublished piano pieces and grouped them into eight further opus numbers (Opp. 66–73), published in 1855. In 1857, 17 Polish songs that Chopin wrote at various stages of his life were collected and published as Op. 74, though their order within the opus did not reflect the order of composition.
Document 5: Scherzo in A-flat major (Borodin): Alexander Borodin's Scherzo in A-flat major is a lively piece written in 1885, while Borodin was in Belgium for an early performance of his then incomplete opera "Prince Igor". It was originally written for solo piano but in 1889 Alexander Glazunov orchestrated it, along with the "Petite Suite". Borodin dedicated the piece to Théodore Jadoul, who made a four-hand piano arrangement of it.
Document 6: Symphony No. 1 (Glazunov): Alexander Glazunov wrote his Symphony No. 1 in E major, Op. 5, in 1881, when he was 16 years old. It was premiered the following year in St. Petersburg. It is known as his Slavonian Symphony.
Document 7: Frédéric Chopin: At the funeral of the tenor Adolphe Nourrit in Paris in 1839, Chopin made a rare appearance at the organ, playing a transcription of Franz Schubert's lied Die Gestirne. On 26 July 1840 Chopin and Sand were present at the dress rehearsal of Berlioz's Grande symphonie funèbre et triomphale, composed to commemorate the tenth anniversary of the July Revolution. Chopin was reportedly unimpressed with the composition.
Document 8: Scottish Fantasy: The Scottish Fantasy in E-flat major, Op. 46, is a composition for violin and orchestra by Max Bruch. Completed in 1880, it was dedicated to the virtuoso violinist Pablo de Sarasate.
Document 9: Frédéric Chopin: Some of Chopin's well-known pieces have acquired descriptive titles, such as the Revolutionary Étude (Op. 10, No. 12), and the Minute Waltz (Op. 64, No. 1). However, with the exception of his Funeral March, the composer never named an instrumental work beyond genre and number, leaving all potential extramusical associations to the listener; the names by which many of his pieces are known were invented by others. There is no evidence to suggest that the Revolutionary Étude was written with the failed Polish uprising against Russia in mind; it merely appeared at that time. The Funeral March, the third movement of his Sonata No. 2 (Op. 35), the one case where he did give a title, was written before the rest of the sonata, but no specific event or death is known to have inspired it.
Document 10: Frédéric Chopin: Four boarders at his parents' apartments became Chopin's intimates: Tytus Woyciechowski, Jan Nepomucen Białobłocki, Jan Matuszyński and Julian Fontana; the latter two would become part of his Paris milieu. He was friendly with members of Warsaw's young artistic and intellectual world, including Fontana, Józef Bohdan Zaleski and Stefan Witwicki. He was also attracted to the singing student Konstancja Gładkowska. In letters to Woyciechowski, he indicated which of his works, and even which of their passages, were influenced by his fascination with her; his letter of 15 May 1830 revealed that the slow movement (Larghetto) of his Piano Concerto No. 1 (in E minor) was secretly dedicated to her – "It should be like dreaming in beautiful springtime – by moonlight." His final Conservatory report (July 1829) read: "Chopin F., third-year student, exceptional talent, musical genius."
Document 11: Petite Suite (Borodin): The Petite Suite is a suite of seven piano pieces, written by Alexander Borodin, and acknowledged as his major work for the piano. It was published in 1885, although some of the pieces had been written as far back as the late 1870s. After Borodin's death, Alexander Glazunov orchestrated the work, and added his orchestration of another of Borodin's pieces as an eighth number.
Document 12: Frédéric Chopin: During the summers at Nohant, particularly in the years 1839–43, Chopin found quiet, productive days during which he composed many works, including his Polonaise in A-flat major, Op. 53. Among the visitors to Nohant were Delacroix and the mezzo-soprano Pauline Viardot, whom Chopin had advised on piano technique and composition. Delacroix gives an account of staying at Nohant in a letter of 7 June 1842:
Document 13: Five Pieces for Orchestra: The Five Pieces for Orchestra (Fünf Orchesterstücke), Op. 16, were composed by Arnold Schoenberg in 1909. The titles of the pieces, reluctantly added by the composer after the work's completion upon the request of his publisher, are as follows:
Document 14: Slavonic Dances: The Slavonic Dances () are a series of 16 orchestral pieces composed by Antonín Dvořák in 1878 and 1886 and published in two sets as Op. 46 and Op. 72 respectively. Originally written for piano four hands, the "Slavonic Dances" were inspired by Johannes Brahms's own "Hungarian Dances" and were orchestrated at the request of Dvořák's publisher soon after composition. The pieces, lively and full of national character, were well received at the time and today are considered among the composer's most memorable works, occasionally making appearances in popular culture. “Contrary to what the title might suggest, the dances are not so much inspired by Slavic folk music generally, but specifically by styles and forms from Bohemia. In these pieces, Dvořák never actually quotes folk melodies, but evokes their style and spirit by using traditional rhythmic patterns and structures in keeping with traditional folk dances.”
Document 15: Classical music: Saxophones appear in some scores from the late 19th century onwards. While appearing only as featured solo instruments in some works, for example Maurice Ravel's orchestration of Modest Mussorgsky's Pictures at an Exhibition and Sergei Rachmaninoff's Symphonic Dances, the saxophone is included in other works, such as Ravel's Boléro, Sergei Prokofiev's Romeo and Juliet Suites 1 and 2 and many other works as a member of the orchestral ensemble. The euphonium is featured in a few late Romantic and 20th-century works, usually playing parts marked "tenor tuba", including Gustav Holst's The Planets, and Richard Strauss's Ein Heldenleben.
ground_truth: opera
sub_queries: Petite Suite >> composer Answer: Alexander Borodin
Alexander Borodin >> genre Answer: opera