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

The Boston Symphony Orchestra is one of the most prominent U.S. symphonic ensembles, with deep roots in the Germanic practices that formed the model for American orchestral culture. The orchestra's catalogue of recordings on the RCA Victor label in the middle of the 20th century, artistically ambitious and sonically top-notch thanks to the ambiance of Boston's magnificent Symphony Hall, continue to set a standard. The Boston Symphony Orchestra was formed in 1881 with principal support from banker Henry Lee Higginson, who also spearheaded the construction of Symphony Hall and its opening in 1900. Its membership consisted largely of German-trained musician, and its first conductor, George Henschel, was a friend of Brahms. Subsequent conductors were German or, in the case of Arthur Nikisch, Hungarian. Especially important was Karl Muck, a former conductor of the Berlin Court Opera (now the Berlin State Opera), who led the orchestra from 1906 to 1908, and again from 1912 to 1918 after the leadership of Max Fiedler in the interim. Muck stepped down and was held in an internment camp in Georgia after espousing pro-German sympathies during World War I. But beginning with Pierre Monteux in 1919, the Boston Symphony boasted a series of internationally renowned and non-German conductors. Monteux was French; Serge Koussevitsky, who led the orchestra from 1924 to 1949, was Russian and a towering figure who commissioned numerous modern works and led the world premieres of Stravinsky's Symphony of Psalms and Bartók's Concerto for Orchestra, among many other now-standard works, and founded the annual Tanglewood Music Festival and its associated talent-development classes, with the BSO in residence. Koussevitsky was succeeded by Alsatian-French Charles Münch (1949-1963) and the Austrian-Jewish Erich Leinsdorf, whose RCA recordings were central to collections in the LP era in the U.S. Leinsdorf was succeeded for several years by the ailing William Steinberg and in 1973 by Japanese-born Seiji Ozawa, whose leadership was artistically controversial but long, and also marked by significant recordings, mostly on the Deutsche Grammophon label. Another conductor with an operatic background, James Levine, followed Ozawa in 2002; he stepped down due to ill health and Latvian conductor Andris Nelsons, who had taken on Mahler's vast Symphony No. 8 ("Symphony of a Thousand") as an emergency replacement for Levine, was named conductor. His contract has been extended through 2022, and he has led the orchestra in new recordings with Deutsche Grammophon, including a live cycle of the symphonies of Dmitri Shostakovich. A notable feature of the orchestra's musical life is the existence of the Boston Pops light music orchestra, with personnel drawn from the ranks of the BSO; under conductor Arthur Fiedler (son of Max), that group attained unprecedented popularity on American radio and television as well as in live concerts. The Boston Symphony Orchestra has also been heard on the scores of two films by director Steven Spielberg, Schindler's List and Saving Private Ryan, with the scores' composer, John Williams, as conductor. ~ James Manheim

Conductor Seiji Ozawa was best known for his long tenure of 29 years as the conductor of the Boston Symphony Orchestra -- one of the most durable in the history of the American orchestral scene. Ozawa was noted for his advocacy of contemporary music, even early in his career, when such a thing was rare among American orchestra conductors of top rank.

Ozawa was born in Mukden, in Japanese-occupied northeastern China (now Shenyang, China), on September 1, 1935. He started piano lessons at seven, and when the family returned to Japan in 1944, he got serious about lessons, studying the music of Bach intensively. With dreams of a career as a concert pianist, Ozawa enrolled at Tokyo's Toho Gakuen School of Music. His keyboard career came to an end, however, when he broke both his index fingers while playing rugby. A sympathetic teacher, Hideo Saito, took him to see a performance of Beethoven's Piano Concerto No. 5 in E flat major, Op. 73 ("Emperor"). Far from regretting his lost opportunity, Ozawa became fascinated by the role of the conductor, at the time a rare occupation among Japanese musicians. He conducted Japan's NHK Symphony Orchestra and Japan Philharmonic during his student years, and after finishing his studies in Tokyo, he headed for Europe with hopes of undertaking further studies. He had to support himself for a time as a motor scooter salesman, but when he saw a poster for the International Competition of Orchestra Conductors in Besançon, France, in 1959, he entered the contest and won. Even better, one of the judges was Boston Symphony conductor Charles Munch, who invited Ozawa to travel to Massachusetts for conducting classes at the Tanglewood Summer Festival. Ozawa walked away with the festival's Koussevitsky Prize, and with a scholarship to travel to Berlin for studies with arguably the most famous conductor of the day, Herbert von Karajan. During this sojourn, he also attracted the attention of New York Philharmonic conductor Leonard Bernstein, who gave Ozawa lessons and hired him as an assistant conductor for two seasons.

Ozawa served as the music director of Chicago's Ravinia Festival from 1964 to 1968. His first major orchestral post was as the music director of the Toronto Symphony from 1965 to 1969, where he championed and recorded works by Messiaen and Takemitsu that, at the time, were rarely heard on major symphony programs. His orientation toward contemporary music only grew after he became the principal conductor of the progressive San Francisco Symphony in 1970, taking the orchestra on a European tour and remaining in his post until 1977. After returning to Tanglewood as the artistic advisor in 1970, Ozawa was hired as the music director of the Boston Symphony in 1972. The move was a bold one on the orchestra's part; Japanese musicians were not well known in the U.S. at the time, and Ozawa was just 37. He also became the artistic director of the Tanglewood Festival.

As far back as his time in Japan, Ozawa sometimes showed a prickly personality that led him into conflict with musicians and colleagues. His tenure in Massachusetts continued this pattern as he attempted a major reorganization at Tanglewood that led to the resignation of several longtime instructors in the '90s. His tenure with the Boston Symphony was also controversial, especially during his later years with the group, but what is inarguable is that his leadership, which extended until 2002, was rarely excelled for sheer durability. That year he moved to the Vienna State Opera as the principal conductor, remaining there until 2010. He continued his association with Tanglewood. In 2013, Ozawa was sidelined for treatment of esophageal cancer, but he returned to a busy schedule of recordings and guest conducting slots.

Ozawa's recording catalog is vast, numbering more than 275 items as of the early 2020s. He made numerous recordings with the Boston Symphony for Deutsche Grammophon, RCA, Philips, and other labels. He favored contemporary music, not only by marquee names but also by lesser-known composers, and was an enthusiastic conductor of Mahler, Stravinsky, and French music, but his recorded performances range as far afield from these specialties as Gershwin. Ozawa has remained active on recordings into old age, releasing a recording of Beethoven's Piano Concerto No. 2 in B flat major, Op. 19, with pianist Martha Argerich on the Decca label in 2020 (in a live performance recorded several years earlier). On that recording, Ozawa led Japan's Mito Chamber Orchestra, which he had advised, supported, and often conducted since its formation in 1990. Ozawa's long list of awards includes the Kennedy Center Honors in 2015. Ozawa died in early February 2024 from heart failure. ~ James Manheim