Question: Richard Strauss and Hans Werner Henze were both what?
Context: Richard Georg Strauss (11 June 1864 – 8 September 1949) was a leading German composer of the late Romantic and early modern eras.  He is known for his operas, which include "Der Rosenkavalier", "Elektra", "Die Frau ohne Schatten" and "Salome"; his Lieder, especially his "Four Last Songs"; his tone poems, including "Don Juan", "Death and Transfiguration", "Till Eulenspiegel's Merry Pranks", "Also sprach Zarathustra", "Ein Heldenleben", "Symphonia Domestica", and "An Alpine Symphony"; and other instrumental works such as "Metamorphosen" and his Oboe Concerto.  Strauss was also a prominent conductor in Western Europe and the Americas, enjoying quasi-celebrity status as his compositions became standards of orchestral and operatic repertoire. We Come to the River – Wir erreichen den Fluss is an opera by Hans Werner Henze to an English-language libretto by Edward Bond.  Henze and Bond described this work as "Actions for music", rather than an opera.  It was Henze's 7th opera, written originally for the The Royal Opera in London, and takes as its focus the horrors of war.  The opera was first performed at the Royal Opera House, Covent Garden, London on 12 July 1976, with the composer as producer, Jürgen Henze as director, and David Atherton conducting.  It was subsequently staged at the Deutsche Oper Berlin, and received its first American performance at Santa Fe Opera in 1984, conducted by Dennis Russell Davies. Das verratene Meer ("The Betrayed Sea") is an opera in two parts and 14 scenes, with music by Hans Werner Henze to a German libretto by Hans-Ulrich Treichel, after Yukio Mishima's novel "The Sailor Who Fell from Grace with the Sea".  Composed between 1986 and 1989, it was Henze's 9th opera, his third that he wrote for the Deutsche Oper in Berlin. Boulevard Solitude is a "Lyrisches Drama " (lyric drama) or opera in one act by Hans Werner Henze to a German libretto by Grete Weil after the play by Walter Jockisch, in its turn a modern retelling of François Prévost's "Manon Lescaut".  The piece is a reworking of the Manon Lescaut story, already adapted operatically by Auber, Massenet and Puccini, and here relocated to Paris after the Second World War where, as is noted in Grove, the focus of the story moves away from Manon and towards Armand des Grieux.  It became Henze’s first fully-fledged opera.  The work stands out for its strong jazz influences, from a composer who had hitherto been associated with twelve tone technique. Hans Werner Henze (1 July 1926 – 27 October 2012) was a German composer.  His large oeuvre of works is extremely varied in style, having been influenced by serialism, atonality, Stravinsky, Italian music, Arabic music and jazz, as well as traditional schools of German composition.  In particular, his stage works reflect "his consistent cultivation of music for the theatre throughout his life". Hans Werner Henze composed the nine Sacred Concertos that comprise his Requiem over the course of three years from 1991 to 1993 on commissions from the London Sinfonietta, Suntory Corporation for the NHK Philharmonic, and Westdeutscher Rundfunk, Cologne.  The first movement, "Introitus: Requiem Aeternam" was commissioned by the London Sinfonietta as part of a memorial concert for Artistic Director Michael Vyner who died on 20 October 1989.  In addition to Henze, the London Sinfonietta also commissioned seven other prominent composers (Luciano Berio, Sir Harrison Birtwistle, Sir Peter Maxwell Davies, Toru Takemitsu, Oliver Knussen, and Nigel Osborne) to write works in Vyner's memory to make up the program which was performed on the 6 May 1990. Hans Werner Henze's Symphony No. 1 was premiered in Darmstadt in 1947.  The premiere was hit by Henze’s accustomed bad luck.  The orchestral parts, handwritten by the composer himself, had become illegible during photocopying in Schott’s offices and despite the young composer’s best efforts to ink in the parts throughout the night, only the slow movement was performed.  The whole symphony was eventually premiered a year later, although Henze himself conducted the work only after comprehensive revision. Ondine is a ballet in three acts created by the choreographer Sir Frederick Ashton and composer Hans Werner Henze.  Ashton originally produced Ondine for the Royal Ballet in 1958, with Henze commissioned to produce the original score, published as "Undine", which has since been restaged by other choreographers.  The ballet was adapted from a novella called "Undine" by Friedrich de la Motte Fouqué and it tells the tale of a water nymph who is the object of desire of a young prince named Palemon.  The première of the ballet took place at the Royal Opera House, London, on 27 October 1958, with the composer as guest conductor.  The first major revival of this Ashton/Henze production took place in 1988. L'Upupa und der Triumph der Sohnesliebe (English: "The Hoopoe and the Triumph of Filial Love") is an opera by Hans Werner Henze with a German libretto by the composer, inspired by Arab and Persian legends.  This is Henze's 15th, and self-stated final, opera, and the first where he has written his own libretto. Emma Dante (born 6 April 1967) is an Italian writer, film director and actress.  She wrote, directed and starred in the 2013 film A Street in Palermo for which she was awarded the Volpi Cup for Best Actress.  In recent years she has directed numerous operas, including Richard Strauss's Feuersnot and [Hans Werner Henze]'s Gisela!  in Palermo, Carmen in Teatro alla Scala.
Answer: German composer