Problem: Given the below context: Kate is a bike-maintenance instructor who realized she is no longer in love with her boyfriend of five years, Ollie. Kate and Ollie have been together since high school. Kate finds out she is pregnant, which complicates the whole situation because she is not sure if she truly does want to breakup with Ollie or not. However, Kate does not want to have a baby, but does not want to wait weeks for a clinical abortion, so her herbalist friend, Chloe tells her that being on a parsley diet can make you have a natural abortion. Kate then goes on to constantly eat parsley and at one point in the film, even bathe in parsley. Ollie is "the king of contraception", where he counsels people on contraception for his job. Kate's friends see Kate and Ollie's relationship as the greatest relationship there could ever be and they envy her for it, even her lesbian friend thinks she would be crazy to leave him. Kate decides it is for the best not to tell Ollie about the pregnancy, despite her friends telling her she should. The film suggests that Kate may have had an affair with her "slow student" and may be the real reason why she wants an abortion. However, we find out that Ollie purposely poked holes in the condom, attempting to save their relationship together by having a child. Kate ultimately decides that breaking up with Ollie and moving on is for the best. Kate and Ollie both agree to meet at the lake in ten years, which is the spot the two of them first fell in love in the first place. Guess a valid title for it!

A: Parsley Days
Problem: Given the question: Given the below context: Holst was given a spectacular send-off. The conductor Adrian Boult recalled, "Just before the Armistice, Gustav Holst burst into my office: 'Adrian, the YMCA are sending me to Salonica quite soon and Balfour Gardiner, bless his heart, has given me a parting present consisting of the Queen's Hall, full of the Queen's Hall Orchestra for the whole of a Sunday morning. So we're going to do The Planets, and you've got to conduct'." There was a burst of activity to get things ready in time. The girls at St Paul's helped to copy out the orchestral parts, and the women of Morley and the St Paul's girls learned the choral part in the last movement.The performance was given on 29 September to an invited audience including Sir Henry Wood and most of the professional musicians in London. Five months later, when Holst was in Greece, Boult introduced The Planets to the general public, at a concert in February 1919; Holst sent him a long letter full of suggestions, but failed to convince him that the suite should be played in full. The conductor believed that about half an hour of such radically new music was all the public could absorb at first hearing, and he gave only five of the seven movements on that occasion.Holst enjoyed his time in Salonica, from where he was able to visit Athens, which greatly impressed him. His musical duties were wide-ranging, and even obliged him on occasion to play the violin in the local orchestra: "it was great fun, but I fear I was not of much use". He returned to England in June 1919. Guess a valid title for it!
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The answer is:
Gustav Holst
[Q]: Given the below context: Alkan's large scale Duo (in effect a sonata) Op. 21 for violin and piano (dedicated to Chretien Urhan) and his Piano Trio Op. 30 appeared in 1841. Apart from these, Alkan published only a few minor works between 1840 and 1844, after which a series of virtuoso works was issued, many of which he had played at his successful recitals at Erard and elsewhere; these included the Marche funebre (Op. 26), the Marche triomphale (Op. 27) and Le chemin de fer (also published, separately, as Op. 27). In 1847 appeared the Op. 31 Preludes and his first large-scale unified piano work, the Grande sonate Les quatre ages (Op. 33). The sonata is structurally innovative in two ways; each movement is slower than its predecessor, and the work anticipates the practice of progressive tonality, beginning in D major and ending in G minor. Dedicated to Alkan Morhange, the sonata depicts in its successive movements its 'hero' at the ages of 20 (optimistic), 30 ("Quasi-Faust", impassioned and fatalistic), 40 (domesticated) and 50 (suffering: the movement is prefaced by a quotation from Aeschylus's Prometheus Unbound). In 1848 followed Alkan's set of 12 etudes dans tous les tons majeurs Op. 35, whose substantial pieces range in mood from the hectic Allegro barbaro (no. 5) and the intense Chant d'amour-Chant de mort (Song of Love Song of Death) (no. 10) to the descriptive and picturesque L'incendie au village voisin (The Fire in the Next Village) (no. 7).A number of Alkan's compositions from this period were never performed and have been lost. Among the missing works are some string sextets and a full-scale orchestral symphony in B minor, which was described in an article in 1846 by the critic Leon Kreutzer, to whom Alkan had shown the score. Kreutzer noted that the introductory adagio of the symphony was headed "by Hebrew characters in red ink ... This is no less than the verse from Genesis: And God said, Let there be light: and there was light." Kreutzer opined that, set beside Alkan's conception, Joseph Haydn's Creation was a "mere... Guess a valid title for it!
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[A]:
Charles-Valentin Alkan