Problem: Given the below context: In early 1970, Lennon and the Beatles' manager, Allen Klein, turned over the recordings to American producer Phil Spector with the hope of salvaging an album, which was then titled Let It Be. McCartney had become estranged from his bandmates at this time, due to his opposition to Klein's appointment as manager. Several weeks were lost before McCartney replied to messages requesting his approval for Spector to begin working on the recordings. Spector chose to return to the same 26 January recording of "The Long and Winding Road".Spector made various changes to the songs. His most dramatic embellishments occurred on 1 April 1970, the last ever Beatles recording session, when he added orchestral overdubs to "The Long and Winding Road", "Across the Universe" and "I Me Mine" at Abbey Road Studios. The only member of the Beatles present was Starr, who played drums with the session musicians to create Spector's characteristic "Wall of Sound". Already known for his eccentric behaviour in the studio, Spector was in a peculiar mood that day, according to balance engineer Peter Bown: "He wanted tape echo on everything, he had to take a different pill every half hour and had his bodyguard with him constantly. He was on the point of throwing a wobbly, saying 'I want to hear this, I want to hear that. I must have this, I must have that.'" The orchestra became so annoyed by Spector's behaviour that the musicians refused to play any further; at one point, Bown left for home, forcing Spector to telephone him and persuade him to come back after Starr had told Spector to calm down.Spector succeeded in overdubbing "The Long and Winding Road", using eight violins, four violas, four cellos, three trumpets, three trombones, two guitars, and a choir of 14 women, which makes 38 musicians altogther. The orchestra was scored and conducted by Richard Hewson, a young London arranger who had worked with Apple artists Mary Hopkin and James Taylor. This lush orchestral treatment was in direct contrast to the Beatles' stated intentions for a... Guess a valid title for it!

A: "The Long and Winding Road"

Problem: Given the below context: Igor Stravinsky was the son of Fyodor Stravinsky, the principal bass singer at the Imperial Opera, St Petersburg, and Anna, nee Kholodovskaya, a competent amateur singer and pianist from an old-established Russian family. Fyodor's association with many of the leading figures in Russian music, including Rimsky-Korsakov, Borodin and Mussorgsky, meant that Igor grew up in an intensely musical home. In 1901 Stravinsky began to study law at Saint Petersburg University while taking private lessons in harmony and counterpoint. Stravinsky worked under the guidance of Rimsky-Korsakov, having impressed him with some of his early compositional efforts. By the time of his mentor's death in 1908 Stravinsky had produced several works, among them a Piano Sonata in F minor (190304), a Symphony in E major (1907), which he catalogued as "Opus 1", and a short orchestral piece, Feu d'artifice ("Fireworks", composed in 1908).In 1909 Feu d'artifice was performed at a concert in St. Petersburg. Among those in the audience was the impresario Sergei Diaghilev, who at that time was planning to introduce Russian music and art to western audiences. Like Stravinsky, Diaghilev had initially studied law, but had gravitated via journalism into the theatrical world. In 1907 he began his theatrical career by presenting five concerts in Paris; in the following year he introduced Mussorgsky's opera Boris Godunov. In 1909, still in Paris, he launched the Ballets Russes, initially with Borodin's Polovtsian Dances from Prince Igor and Rimsky-Korsakov's Scheherazade. To present these works Diaghilev recruited the choreographer Michel Fokine, the designer Leon Bakst and the dancer Vaslav Nijinsky. Diaghilev's intention, however, was to produce new works in a distinctively 20th-century style, and he was looking for fresh compositional talent. Having heard Feu d'artifice he approached Stravinsky, initially with a request for help in orchestrating music by Chopin to create the ballet Les Sylphides. Stravinsky worked on the opening "Nocturne" and the... Guess a valid title for it!

A: The Rite of Spring

Problem: Given the below context: Seoba Srba (English: Migration of the Serbs) is a set of four similar oil paintings by the Serbian artist Paja Jovanovic that depict Serbs, led by Archbishop Arsenije III, fleeing Old Serbia during the Great Serb Migration of 169091. The first was commissioned in 1895 by Georgije Brankovic, the Patriarch of Karlovci, to be displayed at the following year's Budapest Millennium Exhibition. In the view of the Serbian clergy, it would serve to legitimize Serb claims to religious autonomy and partial self-administration in Austria-Hungary by upholding the contention that Serbs left their homeland at the behest of the Holy Roman Emperor to protect the Habsburg Monarchy's borders. Measuring 380 by 580 centimetres (150 by 230 in), the first painting was completed in 1896, and presented to Patriarch Georgije later that year. Dissatisfied, the Patriarch asked Jovanovic to adjust his work to conform with the Church's view of the migration. Though Jovanovic made the changes relatively quickly, he could not render them in time for the painting to be displayed in Budapest, and it therefore had to be unveiled at the Archbishop's palace in Sremski Karlovci. Jovanovic went on to complete a total of four versions of the painting, three of which survive. The first version is on display at the patriarchate building of the Serbian Orthodox Church in Belgrade, the second at the Pancevo Museum, and the fourth at Princess Ljubica's Residence, in Belgrade. Migration of the Serbs holds iconic status in Serbian popular culture, and several authors repute it to be one of Jovanovic's finest achievements. Guess a valid title for it!

A:
Migration of the Serbs