THE significance of David Lindley's double-edged title, A French Foray, for his recital on Thursday, became immediately apparent in the first item, Pie Jesu, from Faure's Requiem. What followed was a fascinating account of the life and music of the French composer, Gabriel Faure.

He was born in 1845, near Toulouse, the youngest of six children. His initiation into music occurred after the family moved to Montgauzy, where an old chapel in the garden housed a harmonium. which became his absorbing hobby.

The audience then enjoyed the lilting tunes of the 1st Piano Barcarolle, written a little later, in 1881.

After showing obvious talent, at the age of nine, his father took him to the Niedemeyer School in Paris, where he studied harmony and counterpoint, and had lessons on the piano and the organ. He remained there for 11 years, meeting Camille Saint Saens, who became a major influence on the younger man. His talent blossomed, and he won a number of prizes, including the school's top award in 1865, for the beautiful hymn Cantique de Jean Racine, based on 16th century choral music, and now played to a rapt audience.

His first two professional appointments, as organist, at Rennes and then at Notre Dame de Cignacourt, Paris, were short-lived due to his liberal interpretation of the expected standards of social behaviour. So was the next, at the Madeline Church in Paris, this time due to the Franco-Prussian War. Faure enlisted and served with honour, but the experience left him traumatized. After a teaching post in Switzerland, he returned to Paris as organist at St Sulpice under Charles Marie Widor, and also sometimes standing in as organist for Saint Saens, at Madeline.

David next played a slightly later composition, the lively scherzo from Faure's first 1st Piano Quartet.

In the mid 1800s opera and ballet became popular, and to exploit these developments, Faure joined with Bizet, Franck, Massenet, and Saint Saens to form the SNM - a National Society of Music.

Then, in 1872, Faure met contralto Pauline Viardot, and fell in love with her daughter Marianne: his first violin Sonata from which the Allegro Vivo was now played, reflects his elation and ecstasy.

Taking over at the Madeline after the resignation of Saint Saens, he proposed to Marianne, but she retracted after initially accepting him - his disappointment and disillusion being expressed in the next item - the song Apres un Reve.

In 1880, opera had another revival following Wagner's Ring Cycle and, inspired by Siegfried, Faure wrote his lovely Ballade, part of which was played here.

Faure was a handsome man with no shortage of female admirers, and in 1883, after an introduction he married Marie Fremiet. They had two sons and the marriage proved durable, but they were temperamentally ill-suited.

At this point we heard Pavane, dedicated to the Countess Greffulhe, and intended to be played, sung and danced all at the same time!

The death of his father in 1885, followed by his mother's two years later motivated Faure's composition of his Requiem: along with Verdi's, today the most often performed Mass. From this, we next heard Libera Me, a fitting end to the first half of the programme.

In 1890, Winaretta Singer (of sewing machines!) commissioned an opera: for this he tried to engage colourful but tragic poet Paul Verlaine, but failed. Following this, on a recuperative trip to Venice, he did write - which we now heard - the song C'est l'extase Langoureuse, or - the 'fatigue after love'!

Lack of success in teaching applications in Paris caused him to travel to London, beginning a lifelong happy relationship with England and the source of much composition. He had several 'affairs', one with composer Adela Maddison, another with Emma Bardac (both already married). For Emma's daughter he wrote the Dolly Suite of six piano duets, from which we now heard Nocturne, played by Julian Breem on lute, and John Williams, guitar.

In 1896, Faure at last obtained a Paris teaching post, at the Conservatoire, and became mentor to Ravel, Enesco and Nadia Boulanger. With little time for composition, he, however, wrote a music suite for Maeterlinck's play Paellas and Melisande, from which we now heard Song of Melisande.

Faure's last major conquest of the ladies was 24-year-old Marquerite Hasamans, whom he met in Beziers, during a performance of his music drama Promethee, in 1901. This association lasted until his death 25 years later.

Oncoming deafness did not inhibit composition, and a lovely piece for solo harp now followed, Chatelaine en sa Tour.

Eventually, when totally deaf, he wrote his opera Penelope, inspired by writer Rene Fauchois. This was a great success (but not at its Paris premiere where it was overshadowed by the furore over Stravinsky's Rite of Spring). Here we heard the Penelope prelude.

The First World War, worries about his sons, and friends dying, contributed to failing health, but he composed his Fantasie for piano and orchestra, part of which was played next.

After the war he continued to compose, and we now heard Clare de Lune from Masques et Bergamasques, sung by Nicolai Gedda. In 1920 he composed a Piano Quintet, a Cello Sonata, and song cycle L. Horizon Chimerique, but the death of Saint Saens in 1921 caused further deterioration in health.

In 1923, he received the award of the Grand Cross of the Legion of Honour, which inspired him to write a string quartet (after Beethoven), but it took 18 months and he died of pneumonia on November 4 1924.

To complete the recital, David played a piece from 1881, written on holiday in Normandy with friend Andre Messager, for a ladies' group singing in the local church: O Salutaris from Messes des Pecheurs de Villerville provided a very fitting conclusion to a memorable evening.

Chairman Roger Howarth thanked the recitalist and announced a change of programme for the next meeting on Thursday, when member Sheila Kenneford will present Milestone in Music. Information from Richard Hall on 01706 823490.

R.A.H.