Answer the question at the end by quoting:

Anton Friedrich Wilhelm (von) Webern (German: ['anton 've:ban] ( listen); 3 December 1883 - 15 September 1945) was an Austrian composer and conductor. Along with his mentor Arnold Schoenberg and his colleague Alban Berg, Webern was in the core of those in the circle of the Second Viennese School, including Ernst Krenek and Theodor W. Adorno. As an exponent of atonality and twelve-tone technique, Webern exerted influence on contemporaries Luigi Dallapiccola, Krenek, and even Schoenberg himself.
Webern published little of his early work in particular; like Brahms, though perhaps for not entirely the same reasons, Webern was characteristically meticulous and revised extensively. Many juvenilia remained unknown until the work and findings of the Moldenhauers in the 1960s, effectively obscuring and undermining formative facets of Webern's musical identity, highly significant even more so in the case of an innovator whose music was crucially marked by rapid stylistic shifts. Thus when Boulez first oversaw a project to record "all" of Webern's music, not including the juvenilia, the results fit on three rather than six CDs.  Webern's earliest works consist primarily of lieder, the genre that most belies his roots in Romanticism, specifically German Romanticism; one in which the music yields brief but explicit, potent, and spoken meaning manifested only latently or programmatically in purely instrumental genres; one marked by significant intimacy and lyricism; and one which often associates nature, especially landscapes, with themes of homesickness, solace, wistful yearning, distance, utopia, and belonging. Robert Schumann's "Mondnacht" is an iconic example; Eichendorff, whose lyric poetry inspired it, is not far removed from the poets (e.g., Richard Dehmel, Gustav Falke, Theodor Storm) whose work inspired Webern and his contemporaries Alban Berg, Max Reger, Arnold Schoenberg, Richard Strauss, Hugo Wolf, and Alexander Zemlinsky. Wolf's Morike-Lieder were especially influential on Webern's efforts from this period. But well beyond these lieder alone, all of Webern's music may be said to possess such concerns and qualities, as is evident from his sketches, albeit in an increasingly symbolic, abstract, spare, introverted, and idealized manner.  Other works include the orchestral tone poem Im Sommerwind (1904) and the Langsamer Satz (1905) for string quartet.  Webern's first piece after completing his studies with Schoenberg was the Passacaglia for orchestra (1908). Harmonically, it is a step forward into a more advanced language, and the orchestration is somewhat more distinctive than his earlier orchestral work. However, it bears little relation to the fully mature works he is best known for today. One element that is typical is the form itself: the passacaglia is a form which dates back to the 17th century, and a distinguishing feature of Webern's later work was to be the use of traditional compositional techniques (especially canons) and forms (the Symphony, the Concerto, the String Trio, and String Quartet, and the piano and orchestral Variations) in a modern harmonic and melodic language.

was he a composer and a conductor?

Romanticism,



Answer the question at the end by quoting:

Kisan Baburao Hazare was born on 15 June 1937 (some sources say 15 January 1940) in Bhingar, near Ahmednagar. He was the eldest son of Baburao Hazare and Laxmi Bai. He has two sisters and four brothers. He later adopted the name Anna, which in Marathi means "elder person" or "father".
Hazare was drafted in the Indian Army in April 1960, where he initially worked as an army truck driver and was later attested as a soldier. He undertook army training at Aurangabad.  During the Indo-Pakistani War of 1965, Hazare was posted at the border in the Khem Karan sector. He was the sole survivor of an enemy attack--variously claimed to have been a bomb, an aerial assault and an exchange of fire at the border--while he was driving a truck. The experiences of wartime, coupled with the poverty from which he had come, affected him. He considered suicide at one point but turned instead to pondering the meaning of life and death. He said of the truck attack, "[It] sent me thinking. I felt that God wanted me to stay alive for some reason. I was reborn in the battlefield of Khem Karan. And I decided to dedicate my new life to serving people." At a book stand in New Delhi railway station, he came across Swami Vivekananda's booklet "Call to the youth for nation building" which inspired him to think deeper. He spent his spare time reading the works of Swami Vivekananda, Gandhi, and Vinoba Bhave. In a blog post, Hazare expressed his views on Kashmir by saying that it was his "active conviction that Kashmir is an integral part of India" and that if required once again for service, he would remain "ready to take part in war against Pakistan."  During his fifteen-year career in the army (1960-75), Anna Hazare was posted at several locations, including Punjab (Indo Pak war 1965), Nagaland, Bombay (1971) and Jammu (1974)  During the Indo pak war, Hazare survived a road crash while driving for the army. He interpreted his survival as a further sign that his life was intended to be dedicated to service. He had another escape in Nagaland, where one night, underground Naga rebels attacked his post and killed all the inmates. He had a miraculous escape as he had gone out to return nature's call and hence turned out to be the lone survivor.  Official records show that he was honourably discharged in 1975 after completing 12 years of service.

Was he injured in the crash?
He interpreted his survival as a further sign that his life was intended to be dedicated to service.