Problem: Background: Fisk was born in Bellows Falls, Vermont, but according to Fisk, that was only because Vermont had the nearest hospital to his hometown, Charlestown, New Hampshire. He grew up in Charlestown, across the Connecticut River from Bellows Falls, and attended Charlestown High School, where he played baseball and basketball. Because his family is from New Hampshire, he insisted that the organization remove from his plaque in the Red Sox Hall of Fame its characterization of him as a Vermont native. Fisk earned his longtime nickname, "Pudge", because he was a chubby youngster.
Context: Fisk was known for his longstanding feud with New York Yankees catcher Thurman Munson. One particular incident that typified their feud, and the Yankees - Red Sox rivalry in general, occurred on August 1, 1973, at Fenway Park. With the score 2-2 in the top of the ninth inning, Munson, attempting to score on Gene Michael's missed bunt attempt, barreled into Fisk, triggering a 10-minute bench-clearing brawl in which both catchers were ejected. As John Curtis let his first pitch go, Munson broke for the plate. Michael tried to bunt, and missed. With Munson coming, the scrawny Yankees shortstop tried to step in Fisk's way, but Fisk elbowed him out of the way and braced for Munson, who crashed into him as hard as he could. Fisk held onto the ball, but Munson tried to lie on top of him to allow Felipe Alou to keep rounding the bases.  Fisk kicked Munson off him and into the air, and swiped at him with his fist. Michael grabbed Fisk, and as Curtis grabbed Munson--his former Cape Cod League roommate--Fisk threw Michael down with his left arm and fell to the ground. "Fisk had his left arm right across Stick's throat and wouldn't let up", said Ralph Houk, the Yankees' manager at the time. "Michael couldn't breathe. I had to crawl underneath the pile to try to pry Fisk's arm off his throat to keep him from killing Stick. All the while he had Michael pinned down, he was punching Munson underneath the pile. I had no idea Fisk was that strong, but he was scary."  In another incident typifying the Yankees-Red Sox rivalry, Fisk was involved in an altercation with Lou Piniella during a May 20, 1976, game at Yankee Stadium. In the sixth inning of this game, Piniella barreled into Fisk trying to score on an Otto Velez single. Fisk and Piniella shoved each other at home plate, triggering another bench-clearing brawl. After order appeared to be restored, Red Sox pitcher Bill Lee and Yankees third baseman Graig Nettles began exchanging words and punches, igniting the brawl anew. Lee suffered a separated left shoulder in the altercation and missed much of the season.  In an incident on May 22, 1990, NFL and MLB player Deion Sanders, then with the Yankees, hit a pop fly, and declined to run to first base, suspecting that the ball would be easily caught. Fisk yelled at Sanders to run the ball out and told Sanders during his next at-bat, "There is a right way and a wrong way to play this game. You're playing it the wrong way. And the rest of us don't like it. Someday, you're going to get this game shoved right down your throat."
Question: who were the catchers?
Answer: Fisk was known for his longstanding feud with New York Yankees catcher Thurman Munson.

Problem: Background: 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.
Context: Strauss wrote two early symphonies: Symphony No. 1 (1880) and Symphony No. 2 (1884). However, Strauss's style began to truly develop and change when, in 1885, he met Alexander Ritter, a noted composer and violinist, and the husband of one of Richard Wagner's nieces. It was Ritter who persuaded Strauss to abandon the conservative style of his youth and begin writing tone poems. He also introduced Strauss to the essays of Wagner and the writings of Arthur Schopenhauer. Strauss went on to conduct one of Ritter's operas, and at Strauss's request Ritter later wrote a poem describing the events depicted in Strauss's tone poem Death and Transfiguration.  The new influences from Ritter resulted in what is widely regarded as Strauss's first piece to show his mature personality, the tone poem Don Juan (1888), which displays a new kind of virtuosity in its bravura orchestral manner. Strauss went on to write a series of increasingly ambitious tone poems: Death and Transfiguration (1889), Till Eulenspiegel's Merry Pranks (1895), Thus Spoke Zarathustra (1896), Don Quixote (1897), Ein Heldenleben (1898), Symphonia Domestica (1903) and An Alpine Symphony (1911-1915). One commentator has observed of these works that "no orchestra could exist without his tone poems, written to celebrate the glories of the post-Wagnerian symphony orchestra."  James Hepokoski notes a shift in Strauss's technique in the tone poems, occurring between 1892 and 1893. It was after this point that Strauss rejected the philosophy of Schopenhauer and began more forcefully critiquing the institution of the symphony and the symphonic poem, thereby differentiating the second cycle of tone poems from the first.
Question: What was the name of another?
Answer:
Death and Transfiguration (1889), Till Eulenspiegel's Merry Pranks (1895), Thus Spoke Zarathustra (1896), Don Quixote (1897), Ein Heldenleben (1898),