[Q]: Given the below context: As far as we know, the earliest cantatas of Johann Sebastian Bach were performed in Muhlhausen from 1706 to 1708. He was employed as an organist there, but he occasionally composed cantatas, mostly for special occasions. The cantatas were based mainly on biblical texts and hymns, such as Aus der Tiefen rufe ich, Herr, zu dir, BWV 131 (a psalm setting), and the Easter chorale cantata Christ lag in Todes Banden, BWV 4. Bach was next appointed organist and chamber musician in Weimar on 25 June 1708 at the court of the co-reigning dukes in Saxe-Weimar, Wilhelm Ernst and his nephew Ernst August. He initially concentrated on the organ, composing major works for the instrument, including the Orgelbuchlein, the Toccata and Fugue in D minor, BWV 565, and the Prelude and Fugue in E major, BWV 566. He was promoted to Konzertmeister on 2 March 1714, an honour that entailed performing a church cantata monthly in the Schlosskirche. The first cantatas he composed in the new position were Himmelskonig, sei willkommen, BWV 182, for Palm Sunday, Weinen, Klagen, Sorgen, Zagen, BWV 12 for Jubilate Sunday, and Erschallet, ihr Lieder, BWV 172, for Pentecost. Mostly inspired by texts by the court poet, Salomo Franck, they contain recitatives and arias. When Johann Samuel Drese, the Kapellmeister (director of music), died in 1716, Bach hoped in vain to become his successor. Bach looked for a better position and found it as Kapellmeister at the court of Leopold, Prince of Anhalt-Kothen. However, the duke in Weimar did not dismiss him and arrested him for disobedience. He was released on 2 December 1717.In Kothen, Bach found an employer who was an enthusiastic musician himself. The court was Calvinist, therefore Bach's work from this period was mostly secular, including the orchestral suites, the cello suites, the sonatas and partitas for solo violin, and the Brandenburg Concertos. He composed secular cantatas for the court for occasions such as New Year's Day and the prince's birthday, including Die Zeit, die Tag und Jahre macht, BWV... Guess a valid title for it!
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[A]: Jesus nahm zu sich die Zwolfe, BWV 22
input: Please answer the following: Given the below context: Overworked World War II riveter Maisie Ravier becomes irritable and starts involuntarily winking at people, so the factory's doctor prescribes a two-week vacation with pay. She runs into her friend and bandleader Tommy Cutter, who wants her to sing for two weeks in Reno. When she goes to the bus station, she encounters Sergeant Bill Fullerton, who is also going to Reno. He wants to stop his wealthy wife, Gloria, from divorcing him. When his leave is canceled because his unit is relocating, he begs Maisie to deliver a letter to Gloria in person. In Reno, blackjack dealer "Flip" Hennahan knows where Gloria is staying and drives Maisie to the isolated resort. However, Maisie is fooled into believing that Gloria's private secretary, "Wini" Ashbourne, is Gloria. Wini and Gloria's business manager, Roger Pelham, want the divorce to go through for their own (never explained) reasons. They get J. E. Clave to forge another letter to give Gloria the impression that Bill only married her for her money. In between her blossoming romance with Flip, Maisie discovers she has been duped and sets out to get evidence to convince Gloria that she is being manipulated. She obtains a blotter on which Clave practiced his forgery, but Clave finds out and the crooked trio retrieve the evidence and burn it. Meanwhile, the confused Flip starts thinking that Maisie is having a nervous breakdown. When Bill telephones Maisie, she strongly urges him to come to Reno before it is too late. Meanwhile, she enlists love-smitten hotel bellboy Jerry into helping kidnap Gloria. She gets caught, but Flip convinces the police that Maisie is not in her right mind and has her released into his custody. When Bill shows up, however, Maisie rushes off with him to the courthouse, where husband and wife are reunited and everything is sorted out. Guess a valid title for it!
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output: Maisie Goes to Reno
Problem: Given the below context: After two more EPs on Kompakt, the Orb (now composed of only Paterson and Fehlmann) released Okie Dokie It's The Orb on Kompakt, which featured new material in addition to tweaked versions of their previous Kompakt output. By this stage, Allmusic observed, Thomas Fehlmann had become the primary creative figure in the Orb, "inhibiting Alex Paterson's whimsical impulses". Because of this, Okie Dokie was considerably more focused and less "goofy" than Cydonia and Bicycles & Tricycles. Fehlmann's trademark hypnotic loops and delays made him the centre of Okie Dokie production and, according to Pitchfork Media, made it "difficult to say where [Paterson] is in the picture". The Orb's releases with Kompakt gained them back much of their musical credibility with the press and showed that they could "age gracefully".In August 2006, the founders of the Orb - Paterson and Cauty - released Living in a Giant Candle Winking at God, their debut album as the Transit Kings with Guy Pratt and Pratt's associate, Dom Beken. The album featured appearances from Smiths' guitarist Johnny Marr and comedian Simon Day. Beken described Living in a Giant Candle Winking at God as "self-consciously musically written and less sample-based" compared to the members' previous work. Living had been in production since 2001, but due to members' other obligations, it was delayed for several years. The album received mixed critical reactions, with reviewers such as The Sun comparing the album favourably to the music of DJ Shadow and Royksopp while other publications, such as The Times, called it "Orb-lite" and proclaimed it to be "Deep Forest-style sludge". Soon after the album's release, Cauty left the Transit Kings on "extended leave", leaving the project in indefinite limbo. Paterson and Beken reunited in 2008 as High Frequency Bandwidth, an ambient hip hop group on the Malicious Damage label. Guess a valid title for it!

A:
The Orb