Title: Oscar Fetrás
Content:  He became personally acquainted with Johann Strauss. In 1904 he won a prize for his composition "Frühlingsluft" and later he wrote Reiche Mädchen, a reworking of Johann Strauss's 1897 operetta Die Göttin der Vernunft. The complete Die Göttin der Vernunft operetta has been released in 2011 by Naxos Records, whilst the Reiche Mädchen has been recorded by Marco Polo on their two CD production of Johann Strauss operetta collections. Fetrás remained well-known and respected and though definitely a second rank composer in the Viennese style, he produced some 300 works. Fetrás died January 1931 in Hamburg and was buried in the Ohlsdorf Cemetery.
Title: Oscar Fetrás
Content:  age of 26 Fetrás's compositions attracted the attention of a Hamburg publisher. He changed his name to Fetrás, an anagram of his surname Faster. Fetrás soon rose to the position of conductor of the Uhlenhorster Fährhaus, a famous restaurant with ballrooms in Hamburg for which he composed his second most famous, but now forgotten work, Uhlenhorster Kinder. He was regarded as the most talented light music composer that Northern Germany ever produced and from the start modelled his own composing on that of his idol, Johann Strauss Jr. As a gift of thanks for his waltz "Mondnacht auf der Alster" which brought Hamburg 
Title: Art in Nazi Germany
Content:  period were Max Reger and Hans Pfitzner. Richard Strauss continued to be the most performed contemporary German composer, as he had been prior to the Nazi regime. However, even Strauss had his opera The Silent Woman banned in 1935 due to his Jewish librettist Stefan Zweig. Music by non-German composers was tolerated if it was classically inspired, tonal, and not by a composer of Jewish origin or having ties to ideologies hostile to the Third Reich. The Nazis recognized Franz Liszt for having German origin and fabricated a genealogy that purported that Frédéric Chopin was German. The Nazi Governor-General of occupied Poland even had a 
Title: Nazi songs
Content:  The song "Deutschland Erwache" ("Germany Awake"), also known by its original name, "Heil Hitler Dir" ("Hail Hitler to Thee"), otherwise known as Sachsenmarsch der NSDAP, was written by Dresden-based composer and NSDAP member Bruno C. Schestak, and premiered (in the famous surviving version performed by Carl Woitschach) in the celebrations of Hitler's 48th birthday on 20 April 1937.
Title: Franz Schreker
Content:  widely known. The outbreak of World War I interrupted the composer's success but with the première of his opera Die Gezeichneten, in Frankfurt on 25 April 1918, Schreker moved to the front ranks of contemporary opera composers. The first performance of Der Schatzgräber in Frankfurt on 21 January 1920 was the high point of his career. The Chamber Symphony, composed between the two operas for the faculty of the Vienna Academy in 1916, quickly entered the repertoire and remains Schreker's most frequently performed work today. In March 1920 he was appointed director of the Hochschule für Musik in Berlin and between 1920 and 1932 he gave extensive musical tuition in a variety of subjects with Berthold Goldschmidt, Alois Hába, Jascha Horenstein, Julius Bürger, Ernst Krenek, Artur Rodziński, Stefan Wolpe, Zdenka Ticharich and Grete von Zieritz numbering among his students.
Title: Opera
Content:  highly varied body of operatic works, often with libretti by the poet Hugo von Hofmannsthal. Other composers who made individual contributions to German opera in the early 20th century include Alexander von Zemlinsky, Erich Korngold, Franz Schreker, Paul Hindemith, Kurt Weill and the Italian-born Ferruccio Busoni. The operatic innovations of Arnold Schoenberg and his successors are discussed in the section on modernism. During the late 19th century, the Austrian composer Johann Strauss II, an admirer of the French-language operettas composed by Jacques Offenbach, composed several German-language operettas, the most famous of which was Die Fledermaus. Nevertheless, rather than copying the style of Offenbach, the operettas of Strauss II had distinctly Viennese flavor to them.
Title: Franz Schmidt
Content:  associated with the proto-Nazi German National Party. Most of Schmidt's principal musical friends were Jews, and they benefited from his generosity. Schmidt's last listed work, the cantata Deutsche Auferstehung (German Resurrection), was composed to a Nazi text. As one of the most famous living Austrian composers, Schmidt was well known to Hitler and received this commission after the Anschluss. He left it unfinished, to be completed later by Robert Wagner. Already seriously ill, Schmidt worked instead on other compositions such as the Quintet in A major for piano (left hand), clarinet and string trio, intended for Paul Wittgenstein and incorporating a variation set based on a theme by Wittgenstein's old teacher, Josef Labor. His failure to complete the cantata is likely to be a further indication that he was not committed to the Nazi cause; such, at any rate, was the opinion of his friend Oskar Adler.
Title: Oscar Fetrás
Content:  Oscar Fetrás (16 February 1854 – 10 January 1931) was a German composer of popular dance music, military marches, piano pieces and arrangements. Fetrás had over 200 compositions to his name. His best known work is his waltz "Mondnacht auf der Alster" Op. 60 which is still immensely popular to the present day.
Title: Norbert Schultze
Content:   Norbert Arnold Wilhelm Richard Schultze (26 January 1911 in Brunswick &ndash; 14 October 2002 in Bad Tolz) was a prolific German composer of film music and a member of the NSDAP and of Joseph Goebbels' staff during World War II. He is best remembered for having written the melody of the World War II classic "Lili Marleen", originally a poem from the 1915 book Die kleine Hafenorgel by Hans Leip. Other works were the operas Schwarzer Peter and Das kalte Herz, the musical Käpt'n Bye-Bye, from which comes the evergreen "Nimm' mich mit, Kapitän, auf die Reise" ("Take me travelling, Captain"), as well as numerous films, such as  (1955). Pseudonyms used by Schultze include Frank Norbert, Peter Kornfeld, and Henri Iversen.
Title: Edmund Kötscher
Content:  the Schuricke-Terzett), Fidele Geisterstunde and Cabaret der Noten (1939), Schön ist die Zeit der jungen Liebe, Sing mit mir (1942), (both with Herta Mayen) and Ich sag’ dir guten Morgen (ca. 1942/43, with Liselotte Malkowsky, Electrola 7310). Kötscher wrote about 2000 songs, mostly light music and hits like Abends in der kleinen Bar, Liechensteiner Polka, Amsterdamer Polka, Wenn die Lichter wieder scheinen (recorded by Arne Hülphers  ), but also Swing influenced pieces like Step Boys. He also composed works for accordion, big band and orchestra; in addition, he wrote an arrangement of Mozart's Violin concerto in G major. Kötscher died in Berlin at the age of 80.

Question: Who was the composer of Fürchte dich nicht?
Answer: Johann Sebastian Bach.
Bach.
J.S. Bach.
J. S. Bach.
J S Bach.