Q: Given the below context: Temperley writes: "After 1855 [Bennett] was spurred by belated honours, and occasional commissions, to compose a respectable number of significant and substantial works, though it was too late to recapture his early self-confidence." Works from his later years included the cello Sonata Duo for Piatti; a pastoral cantata, The May Queen, Op. 39, for the opening of the Leeds Town Hall in 1858; an Ode (Op. 40) with words by Alfred, Lord Tennyson for the opening of the 1862 International Exhibition in London; an Installation Ode for Cambridge University (Op. 41) with words by Charles Kingsley, which included a lament for the late Prince Albert; a symphony in G minor (Op. 43); a sacred cantata,The Woman of Samaria for the Birmingham Triennial Music Festival of 1867; and finally a second Piano Sonata (The Maid of Orleans, Op. 46). Many of these works were composed during his summer holidays which were spent at Eastbourne. The Ode for the Exhibition was the cause of a further imbroglio with Costa, who although in charge of music for the Exhibition refused to conduct anything by Bennett. Eventually it was conducted by Prosper Sainton, between works by Meyerbeer and Daniel Auber also commissioned for the occasion. The affair leaked into the press, and Costa was widely condemned for his behaviour.In March 1856 Bennett, while still teaching at the RAM and Queen's College, was elected Professor of Music at the University of Cambridge. He modernised the system of awarding music degrees, instituting viva voce examinations and requiring candidates for doctorates to first take the degree of Bachelor of Music. Two years later on 8 June 1868 the newly formed (later Royal) College of Organists awarded him an Honorary Fellowship.In 1858 came yet another clash involving Costa, when the autocratic Earl of Westmorland, the original founder of the RAM, saw fit to arrange a subscription concert for the Academy to include a Mass of his own composition, to be conducted by Costa and using the orchestra and singers of the Opera, over the... Guess a valid title for it!
A: William Sterndale Bennett

Q: Given the below context: Mahler made arrangements with the impresario Emil Gutmann for the symphony to be premiered in Munich in the autumn of 1910. He soon regretted this involvement, writing of his fears that Gutmann would turn the performance into "a catastrophic Barnum and Bailey show". Preparations began early in the year, with the selection of choirs from the choral societies of Munich, Leipzig and Vienna. The Munich Zentral-Singschule provided 350 students for the children's choir. Meanwhile, Bruno Walter, Mahler's assistant at the Vienna Hofoper, was responsible for the recruitment and preparation of the eight soloists. Through the spring and summer these forces prepared in their home towns, before assembling in Munich early in September for three full days of final rehearsals under Mahler. His youthful assistant Otto Klemperer remarked later on the many small changes that Mahler made to the score during rehearsal: "He always wanted more clarity, more sound, more dynamic contrast. At one point during rehearsals he turned to us and said, 'If, after my death, something doesn't sound right, then change it. You have not only a right but a duty to do so.'"For the premiere, fixed for 12 September, Gutmann had hired the newly built Neue Musik-Festhalle, in the Munich International Exhibition grounds near Theresienhohe (now a branch of the Deutsches Museum). This vast hall had a capacity of 3,200; to assist ticket sales and raise publicity, Gutmann devised the nickname "Symphony of a Thousand", which has remained the symphony's popular subtitle despite Mahler's disapproval. Among the many distinguished figures present at the sold-out premiere were the composers Richard Strauss, Camille Saint-Saens and Anton Webern; the writers Thomas Mann and Arthur Schnitzler; and the leading theatre director of the day, Max Reinhardt. Also in the audience was the 28-year-old British conductor Leopold Stokowski, who six years later would lead the first United States performance of the symphony.Up to this time, receptions of Mahler's new symphonies... Guess a valid title for it!
A: Symphony No. 8 (Mahler)

Q: Given the below context: While Raff was able to offer "practical suggestions [in orchestration] which were of great value to Liszt", there may have been "a basic misunderstanding" of the nature of their collaboration. Liszt wanted to learn more about instrumentation and acknowledged Raff's greater expertise in this area. Hence, he gave Raff piano sketches to orchestrate, just as he had done earlier with Conradi"so that he might rehearse them, reflect on them, and then, as his confidence in the orchestra grew, change them." Raff disagreed, having the impression that Liszt wanted him on equal terms as a full collaborator. While attending an 1850 rehearsal of Prometheus, he told Bernhard Cossmann, who sat next to him, "Listen to the instrumentation. It is by me."Raff continued making such claims about his role in Liszt's compositional process. Some of these accounts, published posthumously by Die Musik in 1902 and 1903, suggest that he was an equal collaborator with Liszt. Raff's assertions were supported by Joachim, who had been active in Weimar at approximately the same time as Raff. Walker writes that Joachim later recalled to Raff's widow "that he had seen Raff 'produce full orchestral scores from piano sketches.'" Joachim also told Raff's biographer Andreas Moser that "the E-flat-major Piano Concerto was orchestrated from beginning to end by Raff." Raff's and Joachim's statements effectively questioned the authorship of Liszt's orchestral music, especially the symphonic poems. This speculation was debased when composer and Liszt scholar Peter Raabe carefully compared all sketches then known of Liszt's orchestral works with the published versions of the same works. Raabe demonstrated that, regardless of the position with first drafts, or of how much assistance Liszt may have received from Raff or Conradi at that point, every note of the final versions represents Liszt's intentions. Guess a valid title for it!
A:
Symphonic poems (Liszt)