Background: Philip Alfred Mickelson (born June 16, 1970), nicknamed Lefty, is an American professional golfer. He has won 43 events on the PGA Tour, including five major championships: three Masters titles (2004, 2006, 2010), a PGA Championship (2005), and an Open Championship (2013). Mickelson is one of 16 players in the history of golf to win at least three of the four majors. He has won every major except the U.S. Open, where he has finished runner-up a record six times.
Context: Mickelson's first major championship win came in his thirteenth year on the PGA Tour in 2004, when he secured victory in the Masters with an 18-foot (5.5 m) birdie putt on the final hole. Ernie Els was the runner-up at a stroke back; the two played in different pairs in the final round and had traded birdies and eagles on the back nine. In addition to getting the "majors monkey" off his back, Mickelson was now only the third golfer with a left-handed swing to win a major, the others being New Zealander Sir Bob Charles, who won The Open Championship in 1963, and Canadian Mike Weir, who won The Masters in 2003. (Like Mickelson, Weir is a right-hander who plays left-handed.) A fourth left-handed winner is natural southpaw Bubba Watson, the Masters champion in 2012 and 2014.  Just prior to the Ryder Cup in 2004, Mickelson was dropped from his long-standing contract with Titleist/Acushnet Golf, when he took heat for a voicemail message he left for a Callaway Golf executive. In it he praised their driver and golf ball, and thanked them for their help in getting some equipment for his brother. This memo was played to all of their salesmen, and eventually found its way back to Titleist. He was then let out of his multi-year deal with Titleist 16 months early, and signed on with Callaway Golf, his current equipment sponsor. He endured a great deal of ridicule and scrutiny from the press and fellow Ryder Cup members for his equipment change so close to the Ryder Cup matches. He faltered at the 2004 Ryder Cup with a 1-3-0 record, but refused to blame the sudden change in equipment or his practice methods for his performance.  In November 2004, Mickelson tallied his career-low for an 18-hole round: a 59 at the PGA Grand Slam of Golf at Poipu Bay Golf Course in Hawaii.  The following year, Mickelson captured his second major at the PGA Championship at Baltusrol, in a Monday final-round conclusion that had been forced by inclement weather the previous day. On the 18th hole, Mickelson hit one of his trademark soft pitches from deep greenside rough to within a 18 inches (460 mm) of the cup, and made his birdie to finish at a 4-under-par total of 276, one shot ahead of Steve Elkington and Thomas Bjorn.  Mickelson captured his third major title the following spring at the Masters. He won his second green jacket after shooting a 3-under-par final round, winning by two strokes over runner-up Tim Clark. This win propelled him to 2nd place in the Official World Golf Ranking (his career best), behind Woods, and ahead of Vijay Singh and Retief Goosen.
Question: What are the other wins that he had?
Answer: The following year, Mickelson captured his second major at the PGA Championship at Baltusrol,

Problem: Background: Sir Edward William Elgar, 1st Baronet  (2 June 1857 - 23 February 1934) was an English composer, many of whose works have entered the British and international classical concert repertoire. Among his best-known compositions are orchestral works including the Enigma Variations, the Pomp and Circumstance Marches, concertos for violin and cello, and two symphonies. He also composed choral works, including The Dream of Gerontius, chamber music and songs. He was appointed Master of the King's Musick in 1924.
Context: Elgar was contemptuous of folk music and had little interest in or respect for the early English composers, calling William Byrd and his contemporaries "museum pieces". Of later English composers, he regarded Purcell as the greatest, and he said that he had learned much of his own technique from studying Hubert Parry's writings. The continental composers who most influenced Elgar were Handel, Dvorak and, to some degree, Brahms. In Elgar's chromaticism, the influence of Wagner is apparent, but Elgar's individual style of orchestration owes much to the clarity of nineteenth-century French composers, Berlioz, Massenet, Saint-Saens and, particularly, Delibes, whose music Elgar played and conducted at Worcester and greatly admired.  Elgar began composing when still a child, and all his life he drew on his early sketchbooks for themes and inspiration. The habit of assembling his compositions, even large-scale ones, from scraps of themes jotted down randomly remained throughout his life. His early adult works included violin and piano pieces, music for the wind quintet in which he and his brother played between 1878 and 1881, and music of many types for the Powick Asylum band. Diana McVeagh in Grove's Dictionary finds many embryonic Elgarian touches in these pieces, but few of them are regularly played, except Salut d'Amour and (as arranged decades later into The Wand of Youth Suites) some of the childhood sketches. Elgar's sole work of note during his first spell in London in 1889-91, the overture Froissart, was a romantic-bravura piece, influenced by Mendelssohn and Wagner, but also showing further Elgarian characteristics. Orchestral works composed during the subsequent years in Worcestershire include the Serenade for Strings and Three Bavarian Dances. In this period and later, Elgar wrote songs and partsongs. W. H. Reed expressed reservations about these pieces, but praised the partsong The Snow, for female voices, and Sea Pictures, a cycle of five songs for contralto and orchestra which remains in the repertory.  Elgar's principal large-scale early works were for chorus and orchestra for the Three Choirs and other festivals. These were The Black Knight, King Olaf, The Light of Life, The Banner of St George and Caractacus. He also wrote a Te Deum and Benedictus for the Hereford Festival. Of these, McVeagh comments favourably on his lavish orchestration and innovative use of leitmotifs, but less favourably on the qualities of his chosen texts and the patchiness of his inspiration. McVeagh makes the point that, because these works of the 1890s were for many years little known (and performances remain rare), the mastery of his first great success, the Enigma Variations, appeared to be a sudden transformation from mediocrity to genius, but in fact his orchestral skills had been building up throughout the decade.
Question: by which titles?
Answer:
Serenade for Strings and Three Bavarian Dances.