Richard Georg Strauss (; German: [ˈʁɪçaʁt ˈʃtʁaʊs] ; 11 June 1864 – 8 September 1949) was a German composer and conductor known for his tone poems and operas. A leading figure of the late Romantic and early Modern era, and a successor to Richard Wagner and Franz Liszt, he combined, along with his friend Gustav Mahler, subtleties of orchestration with an advanced harmonic style. His compositional output began in 1870 when he was just six years old and lasted until his death nearly eighty years later. His first tone poem to achieve wide acclaim was Don Juan, and this was followed by other lauded works of this kind, including Death and Transfiguration, Till Eulenspiegel's Merry Pranks, Also sprach Zarathustra, Don Quixote, Ein Heldenleben, Symphonia Domestica, and An Alpine Symphony. His first opera to achieve international fame was Salome, which used a libretto by Hedwig Lachmann that was a German translation of the French play Salomé by Oscar Wilde. This was followed by several critically acclaimed operas with librettist Hugo von Hofmannsthal: Elektra, Der Rosenkavalier, Ariadne auf Naxos, Die Frau ohne Schatten, Die ägyptische Helena, and Arabella. His last operas, Daphne, Friedenstag, Die Liebe der Danae and Capriccio used libretti written by Joseph Gregor, the Viennese theatre historian. Other well-known works by Strauss include two symphonies, lieder (especially the Four Last Songs), the Violin Concerto in D minor, the Horn Concerto No. 1, Horn Concerto No. 2, his Oboe Concerto and other instrumental works such as Metamorphosen. A prominent conductor in Western Europe and the Americas, Strauss enjoyed quasi-celebrity status as his compositions became standards of orchestral and operatic repertoire. He was chiefly admired for his interpretations of the works of Liszt, Mozart, and Wagner in addition to his own works. A conducting disciple of Hans von Bülow, Strauss began his conducting career as Bülow's assistant with the Meiningen Court Orchestra in 1883. After Bülow resigned in 1885, Strauss served as that orchestra's primary conductor for five months before being appointed to the conducting staff of the Bavarian State Opera where he worked as third conductor from 1886 to 1889. He then served as principal conductor of the Deutsches Nationaltheater und Staatskapelle Weimar from 1889 to 1894. In 1894 he made his conducting debut at the Bayreuth Festival, conducting Wagner's Tannhäuser with his wife, soprano Pauline de Ahna, singing Elisabeth. He then returned to the Bavarian State Opera, this time as principal conductor, from 1894 to 1898, after which he was principal conductor of the Berlin State Opera from 1898 to 1913. From 1919 to 1924 he was principal conductor of the Vienna State Opera, and in 1920 he co-founded the Salzburg Festival. In addition to these posts, Strauss was a frequent guest conductor in opera houses and with orchestras internationally. In 1933 Strauss was appointed to two important musical positions in Nazi Germany: head of the Reichsmusikkammer and principal conductor of the Bayreuth Festival. The latter role he accepted after conductor Arturo Toscanini had resigned from the position in protest against the Nazi Party. These positions have led some to criticize Strauss for his seeming collaboration with the Nazis. However, Strauss's daughter-in-law, Alice Grab Strauss (née von Hermannswörth), was Jewish, and much of his apparent acquiescence to the Nazi Party was done to save her life and the lives of her children (his Jewish grandchildren). He was also apolitical, and took the Reichsmusikkammer post to advance copyright protections for composers, attempting as well to preserve performances of works by banned composers such as Mahler and Felix Mendelssohn. Further, Strauss insisted on using a Jewish librettist, Stefan Zweig, for his opera Die schweigsame Frau which ultimately led to his firing from the Reichsmusikkammer and Bayreuth. Zweig, however, "had grown privately appalled and embarrassed by Strauss's partnership of opportunity with the Nazi regime". Strauss's opera Friedenstag, which premiered just before the outbreak of World War II, was a thinly veiled criticism of the Nazi Party that attempted to persuade Germans to abandon violence for peace. Thanks to his influence, his daughter-in-law was placed under protected house arrest during the war, but despite extensive efforts he was unable to save dozens of his in-laws from being killed in Nazi concentration camps. In 1948, a year before his death, he was cleared of any wrongdoing by a denazification tribunal in Munich.

Theodor W. Adorno ( ə-DOR-noh; German: [ˈteːodoːɐ̯ aˈdɔʁno] ; born Theodor Ludwig Wiesengrund; 11 September 1903 – 6 August 1969) was a German philosopher, musicologist, and social theorist. He was a leading member of the Frankfurt School of critical theory, whose work has come to be associated with thinkers such as Ernst Bloch, Walter Benjamin, Max Horkheimer, Erich Fromm, and Herbert Marcuse, for whom the works of Sigmund Freud, Karl Marx, and G. W. F. Hegel were essential to a critique of modern society. As a critic of both fascism and what he called the culture industry, his writings—such as Dialectic of Enlightenment (1947), Minima Moralia (1951), and Negative Dialectics (1966)—strongly influenced the European New Left. In an intellectual climate shaped by existentialism and logical positivism, Adorno developed a dialectical conception of history and philosophy that challenged the foundations of both, anticipating the divide that would later emerge between the analytic and continental traditions. As a classically trained musician, Adorno studied composition with Alban Berg of the Second Viennese School, influenced by his early admiration for the music of Arnold Schoenberg. Adorno's commitment to avant-garde music formed the backdrop of his subsequent writings and led to his collaboration with Thomas Mann on the latter's novel Doctor Faustus (1947), while the two men lived in California as exiles during the Second World War. Working at the newly relocated Institute for Social Research, Adorno collaborated on influential studies of authoritarianism, antisemitism, and propaganda that would later serve as models for sociological studies the institute carried out in post-war Germany. Upon his return to Frankfurt, Adorno was involved with the reconstitution of German intellectual life through debates with Karl Popper on the limitations of positivist science, critiques of Martin Heidegger's language of authenticity, writings on German responsibility for the Holocaust, and continued interventions into matters of public policy. As a writer of polemics in the tradition of Friedrich Nietzsche and Karl Kraus, Adorno delivered scathing critiques of contemporary Western culture. Adorno's posthumously published Aesthetic Theory (1970), which he had planned to dedicate to Samuel Beckett, is the culmination of a lifelong commitment to modern art, which attempts to revoke the "fatal separation" of feeling and understanding long demanded by the history of philosophy, and explode the privilege aesthetics accords to content over form and contemplation over immersion. Adorno was nominated for the 1965 Nobel Prize in Literature by Helmut Viebrock.

This is a list of the works of the German composer Paul Hindemith (1895–1963).

This is a list of the works of the German composer Paul Hindemith (1895–1963).

This is a list of the works of the German composer Paul Hindemith (1895–1963).

Johann Christian Friedrich Hölderlin (UK: , US: ; German: [ˈfʁiːdʁɪç ˈhœldɐliːn] ; 20 March 1770 – 7 June 1843) was a German poet and philosopher. Described by Norbert von Hellingrath as "the most German of Germans", Hölderlin was a key figure of German Romanticism. Particularly due to his early association with and philosophical influence on Georg Wilhelm Friedrich Hegel and Friedrich Wilhelm Joseph Schelling, he was also an important thinker in the development of German Idealism. Born in Lauffen am Neckar, Hölderlin had a childhood marked by bereavement. His mother intended for him to enter the Lutheran ministry, and he attended the Tübinger Stift, where he was friends with Hegel and Schelling. He graduated in 1793 but could not devote himself to the Christian faith, instead becoming a tutor. Two years later, he briefly attended the University of Jena, where he interacted with Johann Gottlieb Fichte and Novalis, before resuming his career as a tutor. He struggled to establish himself as a poet, and was plagued by mental illness. He was sent to a clinic in 1806 but deemed incurable and instead given lodging by a carpenter, Ernst Zimmer. He spent the final 36 years of his life in Zimmer's residence, and died in 1843 at the age of 73. Hölderlin followed the tradition of Johann Wolfgang von Goethe and Friedrich Schiller as an admirer of Greek mythology and Ancient Greek poets such as Pindar and Sophocles, and melded Christian and Hellenic themes in his works. Martin Heidegger, upon whom Hölderlin had a great influence, said: "Hölderlin is one of our greatest, that is, most impending thinkers because he is our greatest poet."

Hans Erich Pfitzner (5 May 1869 – 22 May 1949) was a German composer, conductor and polemicist who was a self-described anti-modernist. His best known work is the post-Romantic opera Palestrina (1917), very loosely based on the life of the sixteenth-century composer Giovanni Pierluigi da Palestrina and his Missa Papae Marcelli.

This is a list of the works of the German composer Paul Hindemith (1895–1963).

This is a list of the works of the German composer Paul Hindemith (1895–1963).

This is a list of the works of the German composer Paul Hindemith (1895–1963).

This is a list of the works of the German composer Paul Hindemith (1895–1963).

This is a list of the works of the German composer Paul Hindemith (1895–1963).

Norman Dello Joio (January 24, 1913 – July 24, 2008) was an American composer active for over half a century. Best known for his choral music, he won a Pulitzer Prize for Music in 1957.

"When Lilacs Last in the Dooryard Bloom'd" is a long poem written by American poet Walt Whitman (1819–1892) as an elegy to President Abraham Lincoln. It was written in the summer of 1865 during a period of profound national mourning in the aftermath of the president's assassination on 14 April of that year. The poem, written in free verse in 206 lines, uses many of the literary techniques associated with the pastoral elegy. Despite being an expression to the fallen president, Whitman neither mentions Lincoln by name nor discusses the circumstances of his death in the poem. Instead, he uses a series of rural and natural imagery including the symbols of the lilacs, a drooping star in the western sky (Venus), and the hermit thrush, and he employs the traditional progression of the pastoral elegy in moving from grief toward an acceptance and knowledge of death. The poem also addresses the pity of war through imagery vaguely referencing the American Civil War (1861–1865), which effectively ended only days before the assassination. Written ten years after he published the first edition of Leaves of Grass in 1855, "When Lilacs Last in the Dooryard Bloom'd" reflects a maturing of Whitman's poetic vision from a drama of identity and romantic exuberance that has been tempered by his emotional experience of the American Civil War. Whitman included the poem as part of a quickly written sequel to a collection of poems addressing the war that was being printed at the time of Lincoln's death. These poems, collected under the titles Drum-Taps and Sequel to Drum-Taps, range in emotional context from "excitement to woe, from distant observation to engagement, from belief to resignation" and "more concerned with history than the self, more aware of the precariousness of America's present and future than of its expansive promise". First published in autumn 1865, "When Lilacs Last in the Dooryard Bloom'd"—along with 42 other poems from Drum-Taps and Sequel to Drum-Taps—was absorbed into Leaves of Grass beginning with the fourth edition, published in 1867. The poem is one of several that Whitman wrote on Lincoln's death. Although Whitman did not consider the poem to be among his best, it has been compared in both effect and quality to acclaimed works of English literature, including T. S. Eliot's The Waste Land.