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The Swedish mezzo soprano Anne Sofie von Otter is among the most versatile singers on today's scene, recording and performing opera of various eras and in various languages, art song, oratorio, rock, pop, and jazz. As a song recitalist, collaborating with pianist Bengt Forsberg, she has specialized in unusual and original programming. Von Otter was born in Stockholm on May 9, 1955. Her father was a Swedish diplomat, and her childhood was divided among stints in several countries; she mastered multiple languages as a child. Von Otter enrolled at the Guildhall School of Music and Drama in London, studying with Vera Rosza, Erik Werba, and Geoffrey Parsons. Joining the cast of the Basel Opera in 1983, she made her debut as Alcina in Haydn's Orlando Paladino and singing several "pants" roles including the title role in Rossini's Tancredi. For a time, von Otter specialized in 18th century opera, including the muscular opera seria heroine roles that were just starting to become popular at the end of the 20th century. After multiple audition attempts, von Otter also landed a place in the stable of singers associated with conductor John Eliot Gardiner, performing and recording such works as Handel's Jephtha, Bach's Christmas Oratorio, BWV 248, and St. Matthew Passion, BWV 244, and Mozart's Requiem in D minor, K. 626. Von Otter has performed at La Scala in Milan, Covent Garden in London, and other major European opera houses. With Bengt Forsberg she has released critically acclaimed recitals such as Terezin/Theresienstadt (2007) featuring music written by composers being held in concentration camps. Her artistic scope has only grown as she has aged; in 2016 she joined with the experimental ensemble Brooklyn Rider for a recital of works by composers ranging from Elvis Costello (with whom she had already released a duet album) to Björk, Nico Muhly, Kate Bush, and jazz pianist Brad Mehldau, with whom she recorded the album Love Songs in 2010. She has also recorded mainstream Romantic lieder repertory as well as Swedish art songs. Von Otter released A Simple Song, with Forsberg on the organ, on Sweden's BIS label in late 2018. ~ James Manheim

Maurice Ravel was among the most significant and influential composers of the early 20th century. Although he is frequently linked with Claude Debussy as an exemplar of musical impressionism, and some of their works have a surface resemblance, Ravel possessed an independent voice that grew out of his love of a broad variety of styles, including the French Baroque, Bach, Mozart, Chopin, Spanish folk traditions, and American jazz and blues. His elegant and lyrically generous body of work was not large in comparison with that of some of his contemporaries, but his compositions are notable for being meticulously and exquisitely crafted. He was especially gifted as an orchestrator, an area in which he remains unsurpassed.

Ravel's mother was of Basque heritage, a fact that accounted for his lifelong fascination with Spanish music, and his father was a Swiss inventor and engineer, most likely the source of his commitment to precision and craftsmanship. At the age of 14, he entered the Paris Conservatory, where he was a student from 1889 to 1895 and from 1897 to 1903. His primary composition teacher was Gabriel Fauré. A major disappointment of his life was his failure to win the Prix de Rome in spite of numerous attempts. The difficulty was transparently the conflict between the conservative administration of the Conservatory and Ravel's independent thinking, meaning his association with the French avant-garde (Debussy), and his interest in non-French traditions (Wagner, the Russian nationalists, Balinese gamelan). He had already established himself as a composer of prominence with works such as his String Quartet, and the piano pieces Pavane pour une infante défunte, Jeux d'eau, and the Sonatine, and his loss of the Prix de Rome in 1905 was considered such a scandal that the director of the Conservatory was forced to resign.

Ravel continued to express admiration for Debussy's music throughout his life, but as his own reputation grew stronger during the first decade of the century, a mutual professional jealousy cooled their personal relationship. Around the same time, he developed a friendship with Igor Stravinsky. The two became familiar with each other's work during Stravinsky's time in Paris and worked collaboratively on arrangements for Sergey Diaghilev.

Between 1909 and 1912, Ravel composed Daphnis et Chloé for Diaghilev and Les Ballets Russes. It was the composer's largest and most ambitious work and is widely considered his masterpiece. He wrote a second ballet for Diaghilev, La Valse, which the impresario rejected, but which went on to become one of his most popular orchestral works. Following his service in the First World War as an ambulance driver and the death of his mother in 1917, his output was temporarily diminished. In 1925, the Monte Carlo Opera presented the premiere of another large work, the "lyric fantasy" L'enfant et les sortilèges, a collaboration with writer Colette.

American jazz and blues became increasingly intriguing to the composer. In 1928 he made a hugely successful tour of North America, where he met George Gershwin and had the opportunity to broaden his exposure to jazz. Several of his most important late works, such as the Sonata for Violin and Piano No. 2 and the Piano Concerto in G show the influence of that interest.

Ironically, Ravel, who in his youth was rejected by some elements of the French musical establishment for being a modernist, in his later years was scorned by Satie and the members of Les Six as being old-fashioned, a symbol of the establishment. In 1932, an injury he sustained in an automobile accident started a physical decline that resulted in memory loss and an inability to communicate. He died in 1937, following brain surgery.

In spite of leaving one of the richest and most important bodies of work of any early 20th century composer, one that included virtually every genre except for symphony and liturgical music, Ravel is most often remembered for an arrangement of another composer's work, and for a piece he considered among his least significant. His orchestral arrangement of Mussorgsky's piano suite Pictures at an Exhibition has been wildly popular with concertgoers (and the royalties from it made Ravel a rich man). Boléro, a 15-minute Spanish dance in which a single theme is repeated in a variety of instrumental guises, has been ridiculed for its insistent repetitiveness, but it is also a popular favorite and one of the most familiar and frequently performed orchestral works of the 20th century. ~ Stephen Eddins

Claude Debussy (born Achille-Claude Debussy) was among the most influential composers of the late 19th and early 20th centuries. His mature compositions, distinctive and appealing, combined modernism and sensuality so successfully that their sheer beauty often obscures their technical innovation. Debussy is considered the founder and leading exponent of musical Impressionism (although he resisted the label), and his adoption of non-traditional scales and tonal structures was paradigmatic for many composers who followed.

The son of a shopkeeper and a seamstress, Debussy began piano studies at the Paris Conservatory at the age of 11. While a student there, he encountered the wealthy Nadezhda von Meck (most famous as Tchaikovsky's patroness), who employed him as a music teacher to her children; through travel, concerts and acquaintances, she provided him with a wealth of musical experience. Most importantly, she exposed the young Debussy to the works of Russian composers, such as Borodin and Mussorgsky, who would remain important influences on his music.

Debussy began composition studies in 1880, and in 1884 he won the prestigious Prix de Rome with his cantata L'enfant prodigue. This prize financed two years of further study in Rome -- years that proved to be creatively frustrating. However, the period immediately following was fertile for the young composer; trips to Bayreuth and the Paris World Exhibition (1889) established, respectively, his determination to move away from the influence of Richard Wagner, and his interest in the music of Eastern cultures.

After a relatively bohemian period, during which Debussy formed friendships with many leading Parisian writers and musicians (not least of which were Mallarmé, Satie, and Chausson), the year 1894 saw the enormously successful premiere of his Prélude à l'après-midi d'un faune (Prelude to the Afternoon of a Faun) -- a truly revolutionary work that brought his mature compositional voice into focus. His seminal opera Pelléas et Mélisande, completed the next year, would become a sensation at its first performance in 1902. The impact of those two works earned Debussy widespread recognition (as well as frequent attacks from critics, who failed to appreciate his forward-looking style), and over the first decade of the 20th century he established himself as the leading figure in French music -- so much so that the term "Debussysme" ("Debussyism"), used both positively and pejoratively, became fashionable in Paris. Debussy spent his remaining healthy years immersed in French musical society, writing as a critic, composing, and performing his own works internationally. He succumbed to colon cancer in 1918, having also suffered a deep depression brought on by the onset of World War I.

Debussy's personal life was punctuated by unfortunate incidents, most famously the attempted suicide of his first wife, Lilly Texier, whom he abandoned for the singer Emma Bardac. However, his subsequent marriage to Bardac, and their daughter Claude-Emma, whom they called "Chouchou" and who became the dedicatee of the composer's Children's Corner piano suite, provided the middle-aged Debussy with great personal joys.

Debussy wrote successfully in most every genre, adapting his distinctive compositional language to the demands of each. His orchestral works, of which Prélude à l'après-midi d'un faune and La mer (The Sea, 1905) are most familiar, established him as a master of instrumental color and texture. It is this attention to tone color -- his layering of sound upon sound so that they blend to form a greater, evocative whole -- that linked Debussy in the public mind to the Impressionist painters.

His works for solo piano, particularly his collections of Préludes and Etudes, which have remained staples of the repertoire since their composition, bring into relief his assimilation of elements from both Eastern cultures and antiquity -- especially pentatonicism (the use of five-note scales), modality (the use of scales from ancient Greece and the medieval church), parallelism (the parallel movement of chords and lines), and the whole-tone scale (formed by dividing the octave into six equal intervals).

Pelléas et Mélisande and his collections of songs for solo voice establish the strength of his connection to French literature and poetry, especially the symbolist writers, and stand as some of the most understatedly expressive works in the repertory. The writings of Mallarmé, Maeterlinck, Baudelaire, and his childhood friend Paul Verlaine appear prominently among his chosen texts and joined symbiotically with the composer's own unique moods and forms of expression. ~ Allen Schrott

French composer, conductor, and music theorist Pierre Boulez was regarded as a leading composer of the post-Webern serialist movement who also embraced aleatory elements and electronics.

As a child, Boulez demonstrated a formidable aptitude in mathematics, but in 1942 he enrolled at the Paris Conservatoire. His studies there often ran into difficulties, as he rapidly developed revolutionary attitudes toward all things traditional. Two decisive influences during those years helped to shape his musical personality. The first was Olivier Messiaen, the other was René Leibowitz, who introduced him to serial music, where Boulez found "a harmonic and contrapuntal richness and a capacity for development an extension of a kind I have never found anywhere else."

By the late '40s, Boulez began using a technique known as total serialization. One of his earliest works to gain public notice was his Second Piano Sonata (1948), following its performance in concert at Darmstadt in 1952 by Yvonne Loriod, Messiaen's wife. The piece from the 1950s that sealed his reputation was Le Marteau sans Maître from 1954 (revised in 1955), for singer and chamber ensemble. The instrumentation gives prominence to exotic percussion, extended vocal techniques, and textures that are often brittle, but also lyrical. Rigorously organized, Le Marteau nonetheless goes beyond strict serialism to a more personal style. The premiere took place in Germany in 1955 under Hans Rosbaud, after the Südwestfunk Radio underwrote an astounding 50 rehearsals in order that the piece be performed properly.

During the late '50s, Boulez began allowing greater freedom for the performer in works like Improvisations sur Mallarmé for soprano and chamber ensemble. In his Third Piano Sonata (1957), the pianist can reorder the five movements in a variety of ways, and certain passages within the movements offer alternate paths, thereby making the artist select which to play and which to omit. In 1957, Boulez embarked on Pli Selon Pli, a work in five movements for soprano and orchestra to texts by Mallarmé, making use of a more restrained open-form technique. He was also known for withdrawing and rewriting his compositions, making nearly everything he wrote a work in progress. For instance, ...explosante-fixe..., first sketched in 1971, engendered a number of works and transitory phases over approximately 25 years, including a 1996 version for solo MIDI flute and chamber ensemble. In 2000, he received the prestigious Grawemeyer Award in Composition for his 40-minute chamber piece Sur Incises for three pianos, three harps, and three percussionists.

Boulez was also one of the 20th century's most influential conductors, known for extraordinarily precise performances of contemporary works by Bartók, Ligeti, Messiaen, and Varèse, among many others. He debuted in America in 1965 with the Cleveland Orchestra, and in 1966 conducted his first operas, Wozzeck and Parsifal, and made his first orchestral recordings. In 1968 he was named music director of both the BBC Symphony Orchestra and New York Philharmonic, where his programs of modern music were often met with harsh criticism. In 1970 French President Pompidou announced the experimental electronic music institute Institut de Recherche et de Coordination Acoustique/Musique (IRCAM) to be under Boulez's administration, where he remained until the mid-'90s. In 1975, he formed the Ensemble InterContemporain, a group devoted entirely to performing new music, including his own Repons (1980). The following year, Boulez was invited to lead the centenary performances of Wagner's Ring Cycle at the Bayreuth Festival. Around the same time, he left his permanent conducting appointments, but continued to guest conduct many leading orchestras often. As a conductor, Boulez made many notable recordings; in 1996 he won a Grammy for his recording of Debussy's La Mer with the Cleveland Orchestra. Active into his eighties, his repertoire expanded to include works by such composers as Mahler, Janácek, and Szymanowski. Health issues limited his engagements after 2012, and he unfortunately was too ill to attend celebrations in honor of his 90th birthday. Boulez passed away at his home in Baden-Baden in January 2016. ~ TiVo Staff