The answer to the question: What were the names of the two songs Saint-Saens wrote during his career? is inside the article: From the age of six and for the rest of his life Saint-Saens composed melodies, writing more than 140. He regarded his songs as thoroughly and typically French, denying any influence from Schubert or other German composers of Lieder. Unlike his protege Faure, or his rival Massenet, he was not drawn to the song cycle, writing only two during his long career Melodies persanes ("Persian Songs", 1870) and Le Cendre rouge ("The Red Ash Tree", 1914, dedicated to Faure). The poet whose works he set most often was Victor Hugo; others included Alphonse de Lamartine, Pierre Corneille, Amable Tastu, and, in eight songs, Saint-Saens himself: among his many non-musical talents he was an amateur poet. He was highly sensitive to word setting, and told the young composer Lili Boulanger that to write songs effectively musical talent was not enough: "you must study the French language in depth; it is indispensable." Most of the melodies are written for piano accompaniment, but a few, including "Le lever du soleil sur le Nil" ("Sunrise over the Nile", 1898) and "Hymne a la paix" ("Hymn to Peace", 1919), are for voice and orchestra. His settings, and chosen verses, are generally traditional in form, contrasting with the free verse and less structured forms of a later generation of French composers, including Debussy.Saint-Saens composed more than sixty sacred vocal works, ranging from motets to masses and oratorios. Among the larger-scale compositions are the Requiem (1878) and the oratorios Le deluge (1875) and The Promised Land (1913) with an English text by Herman Klein. He was proud of his connection with British choirs, commenting, "One likes to be appreciated in the home, par excellence, of oratorio." He wrote a smaller number of secular choral works, some for unaccompanied choir, some with piano accompaniment and some with full orchestra. In his choral works, Saint-Saens drew heavily on tradition, feeling that his models should be Handel, Mendelssohn and other earlier masters of the genre. In Klein's view, this approach..., can you guess it ?
Ans: Melodies persanes

The answer to the question: What is the name of the piece that calls for an intermission after the fourth movement? is inside the article: A composer may also respond to a text by expanding a choral symphony beyond the normal bounds of the symphonic genre. This is evident in the unusual orchestration and stage directions Berlioz prepared for his Romeo et Juliette. This piece is actually in seven movements, and calls for an intermission after the fourth movement the "Queen Mab Scherzo" to remove the harps from the stage and bring on the chorus of Capulets for the funeral march that follows. Berlioz biographer D. Kern Holoman observed that, "as Berlioz saw it, the work is simply Beethovenian in design, with the narrative elements overlain. Its core approaches a five-movement symphony with the choral finale and, as in the [Symphonie] Fantastique, both a scherzo and a march.... The 'extra' movements are thus the introduction with its potpourri of subsections and the descriptive tomb scene [at the end of the work]."Mahler expanded the Beethovenian model for programmatic as well as symphonic reasons in his Second Symphony, the "Resurrection", the vocal fourth movement, "Urlicht", bridging the childlike faith of the third movement with the ideological tension Mahler seeks to resolve in the finale. He then abandoned this pattern for his Third Symphony, as two movements for voices and orchestra follow three purely instrumental ones before the finale returns to instruments alone. Like Mahler, Havergal Brian expanded the Beethovenian model, but on a much larger scale and with far larger orchestral and choral forces, in his Symphony No. 1 "The Gothic". Written between 1919 and 1927, the symphony was inspired by Goethe's Faust and Gothic cathedral architecture. The Brian First is in two parts. The first consists of three instrumental movements; the second, also in three movements and over an hour in length, is a Latin setting of the Te Deum., can you guess it ?
Ans: Romeo et Juliette

The answer to the question: Who was the local vampire slayer's wife? is inside the article: Jimmy and Fletch are two friends living in London, experiencing life problems. Jimmy is dumped by his unscrupulous girlfriend, and Fletch is fired from his job as a clown for punching a child. They decide to escape their woes and hike to a remote village in Norfolk that they find on an old map. As they arrive at a pub in the village, with Jimmy upset about Fletch destroying his phone, they see a number of attractive foreign female history students leaving. Hoping to find more beautiful women inside, they are greeted by a morose crowd of men and approached by a seemingly crazed vicar who believes Jimmy is a long lost descendant of a local vampire slayer. As the barman offers the two men free ale as an apology for the vicar, they learn the students they saw earlier are going to a cottage, where they are to stay the night. Jimmy and Fletch pursue the students' van, catching up to it as the engine has broken down, and are introduced to four girls (Heidi, Lotte, Anke and Trudi). They are invited to join a party on the bus. The group arrives at their destination, only to learn that a curse rests over the village and that every female child turns into a lesbian vampire on her 18th birthday. There is an old legend stating that the Vampire Queen, Carmilla, descended on the village during the night of a blood moon, killed its menfolk and seduced its women to her evil. When the ruler of the land, Baron Wolfgang Mclaren (Jimmy's great ancestor) returned from the Crusades, he discovered one of the women corrupted by Carmilla was his wife, Eva. The baron forged a sacred sword, then defeated Carmilla, but before dying, Carmilla cursed the village, adding that when the blood of the last of Mclaren's bloodline mixed with a virgin girl's blood, Carmilla would be resurrected., can you guess it ?
Ans: Eva