Q: Given the below context:  Bramshill House, in Bramshill, northeast Hampshire, England, is one of the largest and most important Jacobean prodigy house mansions in England. It was built in the early 17th century by Baron Edward la Zouche of Harringworth, but was partly destroyed by fire a few years later. The design shows the influence of the Italian Renaissance, which became popular in England during the late 16th century. The house was designated a Grade I listed building in 1952. The mansion's southern façade is notable for its decorative architecture, which includes at its centre a large oriel window above the principal entrance. Interior features include a great hall displaying 92 coats of arms on a Jacobean screen, an ornate drawing room, and a 126.5-foot (38.6 m) long gallery containing many portraits. Numerous columns and friezes are found throughout the mansion, while several rooms have large tapestries depicting historical figures and events on their panelled walls. The house is set in 262-acre (106 ha) of grounds containing an 18-acre (7.3 ha) lake. The grounds, which received a Grade II* listing in 1984, are part of a Registered Historic Park that includes about 25 acres (10 ha) of early 17th-century formal gardens near the house. The wider medieval park was landscaped from the 17th to the 20th century and contains woodland. Bramshill appears to have been a local sporting and social venue since the 16th century. The cricket ground at the house played host to a first-class match in 1823 when an early Hampshire team played an England XI, and it hosted three other matches in 1825–26. During the Second World War, the mansion was used as a Red Cross maternity home, before becoming the residence of the exiled King Michael and Queen Anne of Romania for a number of years. It became the location of the Police Staff College in 1960, and was later home to the European Police College. As a result, many campus buildings have been added to the estate. Owing to escalating maintenance costs the property was sold to the heritage property...  Guess a valid title for it!
A: Bramshill House

Q: Given the below context:  Descriptions of Imogen as a small child indicate that she had blue eyes, fair hair, an oval face reminiscent of her father's, and a rather prominent nose inherited from her mother.  In 1912, at the age of five, she joined the kindergarten class at the Froebel Institute, and remained at the school for five years. Summers were often spent at the Holsts' rented country cottage at Thaxted in Essex, where Gustav Holst began an annual Whitsun Festival in 1916.In 1917 Imogen began boarding at Eothen, a small, private school for girls in Caterham, where Jane Joseph, Gustav's star pupil from SPGS, taught music.  A letter home, dated 17 July 1917, tells of "compertishions [sic], and ripping prizes, and strawberries and cream for tea".  At the school, Imogen studied piano with Eleanor Shuttleworth, violin with André Mangeot (described as "topping") and theory with Jane Joseph ("ripping"). Under Joseph's tuition Imogen produced her first compositions—two instrumental pieces and four Christmas carol tunes—which she numbered as Ops. 1, 2, and 3. In the summer term of 1920, she composed and choreographed a "Dance of the Nymphs and Shepherds", which was performed at the school under her direction on 9 July.Imogen left Eothen in December 1920 hoping to study under Ruby Ginner at the Ginner-Mawer School of Dance and Drama, but was rejected on health grounds, although there appeared to be no significant medical issue. She then studied at home under a governess, while waiting to start at St Paul's Girls School in the autumn. At Whitsun 1921 she took part as a dancer in her father's production of Purcell's semi-opera from 1690, Masque of Dioclesian, held in the St Paul's School grounds and repeated a week later in Hyde Park.In September 1921 Imogen began at St Paul's Girls School, and became a boarder from Spring 1922. In July 1922 she performed a Bach Prelude and Fugue on the piano, for which Joseph praised her warmly, writing: "I think everyone enjoyed the Bach from beginning to end, they all made nice contented noises at the...  Guess a valid title for it!
A: Imogen Holst

Q: Given the below context:  Alkan was described by Marmontel (who refers to "a regrettable misunderstanding at a moment of our careers in 1848"), as follows: We will not give the portrait of Valentin Alkan from the rear, as in some photographs we have seen. His intelligent and original physiognomy deserves to be taken in profile or head-on. The head is strong; the deep forehead is that of a thinker; the mouth large and smiling, the nose regular; the years have whitened the beard and hair ... the gaze fine, a little mocking. His stooped walk, his puritan comportment, give him the look of an Anglican minister or a rabbi – for which he has the abilities. Alkan was not always remote or aloof. Chopin describes, in a letter to friend, visiting the theatre with Alkan in 1847 to see the comedian Arnal: "[Arnal] tells the audience how he was desperate to pee in a train, but couldn't get to a toilet before they stopped at Orléans. There wasn't a single vulgar word in what he said, but everyone understood and split their sides laughing." Hugh Macdonald notes that Alkan "particularly enjoyed the patronage of Russian aristocratic ladies, 'des dames très parfumées et froufroutantes [highly perfumed and frilled ladies]', as Isidore Philipp described them."Alkan's aversion to socialising and publicity, especially following 1850, appeared to be self-willed. Liszt is reported to have commented to the Danish pianist Frits Hartvigson that "Alkan possessed the finest technique he had ever known, but preferred the life of a recluse." Stephanie McCallum has suggested that Alkan may have suffered from Asperger syndrome, schizophrenia or obsessive–compulsive disorder.Alkan's later correspondence contains many despairing comments. In a letter of about 1861 he wrote to Hiller: I'm becoming daily more and more misanthropic and misogynous ... nothing worthwhile, good or useful to do ... no one to devote myself to. My situation makes me horridly sad and wretched. Even musical production has lost its attraction for me for I can't see the point or goal."  Guess a valid title for it!
A:
Charles-Valentin Alkan