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When Gabriel Fauré was a boy, Berlioz had just written La damnation de Faust and Henry David Thoreau was writing Walden. By the time of his death, Stravinsky had written The Rite of Spring and World War I had ended in the devastation of Europe. In this dramatic period in history, Fauré strove to bring together the best of traditional and progressive music and, in the process, created some of the most exquisite works in the French repertoire. He was one of the most advanced figures in French musical circles and influenced a generation of composers world-wide.

Fauré was the youngest child of a school headmaster and spent many hours playing the harmonium in the chapel next to his father's school. Fauré's father enrolled the 9-year-old as a boarder at the École Niedermeyer in Paris, where he remained for 11 years, learning church music, organ, piano, harmony, counterpoint, and literature. In 1861, Saint-Saëns joined the school and introduced Fauré and other students to the works of more contemporary composers such as Schumann, Liszt, and Wagner. Fauré's earliest songs and piano pieces date from this period, just before his graduation in 1865, which he achieved with awards in almost every subject. For the next several years, he took on various organist positions, served for a time in the Imperial Guard, and taught. In 1871 he and his friends -- d'Indy, Lalo, Duparc, and Chabrier -- formed the Société Nationale de Musique, and soon after, Saint-Saëns introduced him to the salon of Pauline Viardot and Parisian musical high society. Fauré wrote his first important chamber works (the Violin Sonata No. 1 and Piano Quartet No. 1), then set out on a series of musical expeditions to meet Liszt and Wagner. Throughout the 1880s, he held various positions and continued to write songs and piano pieces, but felt unsure enough of his compositional talents to attempt anything much larger than incidental music. Fauré's pieces began to show a complexity of musical line and harmony which were to become the hallmarks of his music. He began to develop a highly original approach to tonality, in which modal harmony and altered scales figured largely. The next decade, however, is when Fauré came into his own. His music, although considered too advanced by most, gained recognition amongst his musical friends. This was his first truly productive phase, seeing the completion of his Requiem, the Cinq Mélodies, and the Dolly Suite, among other works. Using an economy of expression and boldness of harmony, he built the musical bridge over which his students -- such as Maurice Ravel and Nadia Boulanger -- would cross on their journey into the 20th century. He was named composition professor at the Paris Conservatoire in 1896. In 1905, he became director of the conservatory and made several significant reforms. Ironically, this position gave his works more exposure, but it reduced his time for composition and came when he was increasingly bothered by hearing problems. Fauré's works of this period show the last, most sophisticated stages of his writing, streamlined and elegant in form. During World War I, Fauré essentially remained in Paris and had another extremely productive phase, producing, among other things, Le Jardin clos and the Fantaisie for piano and orchestra, Op. 111, which show a force and violence that make them among the most powerful pieces in French music. In 1920 he retired from the school, and the following year gave up his music critic position with Le Figaro, which he had held since 1903. Between then and his death in 1924, he would produce his great, last works: several chamber works and the song cycle L'horizon chimérique. ~ TiVo Staff

Yan-Pascal Tortelier is among the finest conductors emerging in the last quarter of the twentieth century.

He comes from an eminent musical family: His father was cellist Paul Tortelier (1914-1990). Yan-Pascal studied violin and piano and began studying harmony and counterpoint with Nadia Boulanger. Of his violin studies at the Paris Conservatoire he says he "thinks he reached a high standard" but "couldn't quite make it." In fact, he won First Prize in violin at the Conservatory at age 14 and at the same age made his debut as a soloist with the London Philharmonic in Brahms' Double Concerto (1962).

He took conducting studies with Franco Ferrara in the Accademia Chigiana in Siena in 1973. He began guest conducting and in 1974 was appointed associate conductor of the Orchestre du Capitole de Toulouse, remaining in that position through the season ending in 1983. He also conducted opera performances in Toulouse. He was principal conductor and artistic director of the Ulster Orchestra (Belfast, Northern Ireland, 1989-1992). In 1990 he was named principal conductor of the BBC Philharmonic, effective at the start of the 1992 season, remaining in that position until 2002. As such, he frequently appeared leading live concerts on the BBC from that orchestra's home at Bridgewater Hall in Manchester, as well as at annual performances at the Henry Woods "Proms" Concerts. In 1995, he took it on a very successful tour of the U.S. to celebrate the orchestra's 60th anniversary season.

Tortelier also guest conducts widely, appearing at some of the world's leading orchestras. His first appearance in the U.S. was in 1985, with the Seattle Symphony Orchestra. In the early part of 2000 his scheduled guest appearances included concerts with Amsterdam's Royal Concertgebouw, the St. Petersburg Philharmonic Orchestra, the Czech Philharmonic, and the San Francisco Symphony. From 2005 to 2008, Tortelier was the principal guest conductor of the Pittsburgh Symphony Orchestra, and served as principal conductor of the São Paulo State Symphony Orchestra in Brazil.

He records exclusively for Chandos Records, which has released performances with the BBC Philharmonic and the Ulster Orchestra, included complete orchestral works of Debussy and Ravel. The later series included Tortelier's own orchestration of Ravel's Trio. With the BBC Philharmonic Tortelier has worked on complete cycles of music by Roussel and Dutilleux, and has also recorded works by Lutoslawski, Fauré, and Dukas, including two discs that won the prestigious Diapason d'Or award.

Pianist Kathryn Stott has specialized in the music of her native Britain but is a versatile artist with a wide repertory of solo and chamber music. She is well known as a frequent duet partner of cellist Yo-Yo Ma. In addition to performing, Stott is active with various festivals and concert series as an artistic director. She has a substantial recording catalog, much of it with Ma; in 2024, several of her 1980s recordings of music by George Lloyd were reissued by the Lyrita label.

Stott was born on December 10, 1958, in Nelson in Britain's Lancashire region. She attended the Yehudi Menuhin School as a child, and among her teachers there was the famed pedagogue Nadia Boulanger. Stott attended the Royal College of Music, where her principal teacher was Kendall Taylor. In 1978, at 20, she made it to the finals of the prestigious Leeds International Piano Competition, ultimately placing fifth. Later that year, she made her London debut at the Purcell Room, and ever since then, she has had a flourishing concert career. Another significant event occurred in 1978 when Stott returned from a vacation to find a Chinese cellist practicing in her apartment. This was Ma, to whom Stott's flatmate, violinist Nigel Kennedy, had sublet his space without specifying that the apartment was shared. Despite the unorthodox introduction, the two became lifelong creative partners, frequently performing and recording together. In 1986, Stott made her recording debut on the Conifer label with an album of works by Gabriel Fauré.

Fauré became one of her specialties, but she has also become known for her performances of British music. Her interpretations of works by Frank Bridge and William Walton are highly regarded, and she was the dedicatee of Peter Maxwell Davies' 1997 Piano Concerto. Stott has also premiered various other contemporary works, including Michael Nyman's The Piano Concerto and many works by Graham Fitkin. Unusually, she always performs from a score, even when playing solo recitals. In addition to Ma, Stott has other A-level chamber music partners, including trumpeter Tine Thing Helseth, cellist Christian Poltéra, and pianist Noriko Ogawa. Stott's touring schedule has included appearances in many Western European countries, the U.S., and Japan. In Britain, her schedule has included appearances with all the BBC orchestras and ten concerts at the BBC Proms. Stott's recording catalog includes albums on such major labels as Decca, EMI, Philips, and Hyperion. She has recorded often with Ma, and their joint output includes best-selling items such as 1997's The Soul of the Tango; she has also become independently interested in tango music. Stott has remained active into her seventh decade, releasing the album Songs of Comfort & Hope with Ma in 2020. Two albums of reissued Stott performances of solo piano music and concertos by George Lloyd appeared in 2024 on the Lyrita label; by that time, her catalog comprised well over 50 albums. ~ James Manheim

Richard Davis was a superb and prolific jazz bassist and possessed a rich, woody tone and excellent technique whether playing jazz, pop, or classical music. He served in world-class symphony orchestras, backed vocalists, and engaged in stunning duets. He appeared on three of the most iconic recordings of the 20th century: Eric Dolphy's Out to Lunch!, Andrew Hill's Point of Departure, and Van Morrison's Astral Weeks. His Impulse leader debut, Heavy Sounds, appeared in 1967. During the '70s, session and live work were plentiful to the point of demanding, but Davis managed to release a number of important records during the decade, including 1971's The Philosophy of the Spiritual, 1973's Dealin', and Harvest and Cauldron in 1979. In 1977, he began a long tenure as an educator at the University of Wisconsin-Madison. Following 1980's Way Out West, he issued Persia My Dear in 1987. The Bassist: Homage to Diversity appeared in 2001. Blue Monk, with pianist Junior Mance, appeared in 2007. He was named an NEA Jazz Master in 2014.

Davis was born in Chicago in 1930. His first musical experience was serving as the bass singer in his family's vocal trio. He studied double bass in high school and was a member of Chicago Youth Symphony Orchestras (then known as the Youth Orchestra of Greater Chicago). He played in the orchestra's first performance at Chicago's Orchestra Hall in 1947. After graduating from high school, he studied double bass with Rudolf Fahsbender of the Chicago Symphony Orchestra while attending VanderCook College of Music, where he received a degree in music education.

Davis worked with dance bands in Chicago's clubs and got his first jazz trio gig with Ahmad Jamal in 1952. Connections he developed on the scene led him to pianist Dr. Don Shirley in 1954. The pair relocated to New York City and recorded and performed together until 1956. In 1957, Davis joined Sarah Vaughan's rhythm section; he toured and recorded with the singer until 1962.

In the early '60s, Davis got busy on the Big Apple's jazz and classical scenes. His reputation spread and the work followed. In 1964 alone, he played on Eric Dolphy's Out to Lunch!, Andrew Hill's Point of Departure, Booker Ervin's The Song Book, and Tony Williams' Life Time. During the '60s, Davis worked alongside Ben Webster and Joe Zawinul, Roland Kirk, and Jaki Byard, among many others. Further, Davis got freelance work with symphony orchestras conducted by Leonard Bernstein and Igor Stravinsky, singer Carmen McCrae, and vibist Cal Tjader. In 1967, Davis teamed with drummer Elvin Jones for his leader debut, Heavy Sounds, on Impulse. In 1968 he played bass on Van Morrison's Astral Weeks. From 1968 to 1972, Davis was voted best jazz bassist by critics and readers of Downbeat; his wildly diverse playing provided support for everyone from Earl Hines and Jaki Byard to Creative Construction Company and Stan Getz.

In 1970, Davis issued Muses for Richard Davis on Germany's MPS label. He led an octet that included Roland Hanna, Jimmy Knepper, Pepper Adams, Freddie Hubbard, and others. He also joined the New York Bass Violin Choir led by Bill Lee, with Ron Carter, Milt Hinton, and Sam Jones. In 1972, Davis released Philosophy of the Spiritual, a modal hard bop date on Cobblestone, with Chick Corea, Lee playing a second bass, Sonny Brown on drums, Frankie Dunlop on percussion, and Sam Brown on guitar. Davis was also a touring and recording member of the Thad Jones/Mel Lewis Orchestra. He did session work with country star Hank Locklin, Billy Cobham, Bruce Springsteen, Biff Rose, Roy Ayers and Antonio Carlos Jobim, Donny Hathaway, Grover Washington, Jr., Bonnie Raitt, Harold Alexander, Laura Nyro, and Leon Thomas, among dozens of others.

In 1973, Davis issued Epistrophy and, as the New York Unit, Now's the Time on Muse -- the latter was a modal and vanguard jazz date that included saxophonist Clifford Jordan and trumpeter Hannibal Marvin Peterson -- the bassist returned the favor by appearing on their recordings. 1974's Dealin', a groove jazz and funk date, featured most of the same band. The following year, the bassist joined Jimmy Raney and Alan Dawson for Momentum on MPS. In 1976 he released As One on Muse, a duet offering with pianist Jill McManus. 1977's Fancy Free on Galaxy was conducted by Lee and included pianist Stanley Cowell, trumpeter Eddie Henderson, saxophonist Joe Henderson, and Cobham. Davis played more than 200 sessions during the '70s. In addition to appearing on Joe Chambers' classic The Almoravid, he joined the studio bands of pop singers Danny O'Keefe, Melissa Manchester, and Carly Simon.

Davis left New York in 1977 after more than 25 years to accept a teaching position at the University of Wisconsin in Madison, educating students as a professor of music and music history. Concurrent with his life as an educator, he continued making records and appearances as a performer/sideman. In 1978 he recorded and released Divine Gemini with vibist Walt Dickerson for SteepleChase. Harvest, on Muse, appeared the same year. In 1979, he and saxophonist/clarinetist L.D. Levy independently released Cauldron.

In 1980, Davis released the oft-sampled jazz-funk date Way Out West, accompanied by Cobham, both Hendersons, and Cowell. The album won positive critical notice across the globe. In 1982, Davis played Tokyo's Aurex Jazz Festival with trombonists J.J. Johnson and Kai Winding, and at the 1984 Chicago Jazz Festival. He was featured in the 1982 film Jazz in Exile. In 1985, Davis and Dickerson issued Tenderness on SteepleChase. He also spent much of the early to middle part of the decade recording and touring with pianist Mal Waldron.

In the late '80s, Davis, pianist John Hicks, and drummer Tatsuya Nakamura co-founded New York Unit. Between 1991 and 1998, they issued eight highly acclaimed albums for Japan's King label, including Tribute to Great Tenors, Blue Bossa, Now's the Time, and Over the Rainbow. During that time he also managed to release I Remember Clifford in 1990 on Japan's DIW label with drummer Ronnie Burrage and pianist James Williams. The following year, Enja released Body and Soul, a 1983 duo recording with Archie Shepp. In 1993, Davis formed The Richard Davis Foundation for Young Bassists. It conducts an annual conference for young players to learn from professionals and perform with one another. Davis' Reminisces appeared on Simpatio Music in 1994.

In 2000, Davis established the Madison chapter of the Center for the Healing of Racism, an outgrowth of his founding the Retention Action Project at the University of Wisconsin in 1998 to improve graduation rates for students of color.

The Bassist: Homage to Diversity (a duo recording with John Hicks) appeared on Palmetto in 2001, followed by two Japanese releases on King: So in Love (also 2001) and 2008's Blue Monk (with pianist Junior Mance) in 2008. Davis retired from teaching in 2016. Two years later, "Richard Davis Lane", in eastern Madison, was named in his honor. An increasingly ailing Davis entered hospice care in 2021; he died on September 9, 2023. He was 93. ~ Thom Jurek