Question:
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.
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.
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Were his works well received?

Answer:
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."

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Sir Arthur John Evans  (8 July 1851 - 11 July 1941) was an English archaeologist and pioneer in the study of Aegean civilization in the Bronze Age. He is most famous for unearthing the palace of Knossos on the Greek island of Crete. Evans continued Heinrich Schliemann's concept of a Mycenaean civilization, but found that he needed to distinguish another civilization, the Minoan, from the structures and artifacts found there and throughout the eastern Mediterranean. Evans was also the first to define Cretan scripts Linear A and Linear B, as well as an earlier pictographic writing.
Arthur matriculated on 9 Jun 1870 and attended Brasenose College, Oxford. His housemaster at Harrow, F. Rendall, had eased the way to his acceptance with the recommendation that he was "a boy of powerful original mind." At Brasenose he chose to read modern history, a new curriculum, which was nearly a disaster, as his main interests were in archaeology and classical studies.  His summertime activities with his brothers and friends were perhaps more important to his subsequent career. Having been given an ample allowance by his father, he went looking for adventure on the continent, deliberately seeking out circumstances that might be considered dangerous by some. In June 1871, he and Lewis visited Hallstatt, where his father had excavated in 1866, adding some of the artifacts to his collection. Arthur had made himself familiar with these.  Subsequently, they went on to Paris and then to Amiens. The Franco-Prussian War had just concluded the month before. Arthur had been told at the French border to remove the dark cape he was wearing so that he would not be shot for a spy. Amiens was occupied by the Prussian army. Arthur found them prosaic and preoccupied with souvenir-hunting. He and Lewis hunted for stone-age artifacts in the gravel quarries, Arthur remarking that he was glad the Prussians were not interested in flint artifacts.  In 1872 he and Norman adventured into Ottoman territory in the Carpathians, already in a state of political tension. They crossed borders illegally at high altitudes, "revolvers at the ready." This was Arthur's first encounter with Turkish people and customs. He bought a complete set of clothes of a wealthy Turkish man, complete with red fez, baggy trousers and embroidered, short-sleeved tunic. His detailed, enthusiastic account was published in Fraser's Magazine for May 1873.  In 1873 he and Balfour tramped over Lapland, Finland, and Sweden. Everywhere he went he took copious anthropological notes and made numerous drawings of the people, places and artifacts. During the Christmas holidays of 1873, Evans cataloged a coin collection being bequeathed to Harrow by John Gardner Wilkinson, the father of British Egyptology, who was too ill to work on it himself. The headmaster had suggested "my old pupil, Arthur John Evans - a remarkably able young man."

Did he earn a degree?
At Brasenose he chose to read modern history, a new curriculum, which was nearly a disaster, as his main interests were in archaeology and classical studies.