input: Thompson's decision to defect to the North West Company in 1797 without providing the customary one-year notice was not well received by his former employers. But the North West Company was more supportive of Thompson pursuing his interest in surveying and work on mapping the interior of what was to become Canada, as they judged it in the company's long-term interest. In 1797, Thompson was sent south by his employers to survey part of the Canada-US boundary along the water routes from Lake Superior to Lake of the Woods to satisfy unresolved questions of territory arising from the Jay Treaty between Great Britain and the United States after the American Revolutionary War.  By 1798 Thompson had completed a survey of 6,750 km (4,190 mi) from Grand Portage, through Lake Winnipeg, to the headwaters of the Assiniboine and Mississippi rivers, as well as two sides of Lake Superior. In 1798, the company sent him to Red Deer Lake (Lac La Biche in present-day Alberta) to establish a trading post. (The English translation of Lac la Biche: Red Deer Lake, was first recorded on the Mackenzie map of 1793.) Thompson spent the next few seasons trading based in Fort George (now in Alberta), and during this time led several expeditions into the Rocky Mountains.  In 1804, at the annual meeting of the North West Company in Kaministiquia, Thompson was made a full partner of the company. He spent the next few seasons based there managing the fur trading operations but still finding time to expand his surveys of the waterways around Lake Superior. At the 1806 company meeting, officers decided to send Thompson back out into the interior. Concern over the American-backed expedition of Lewis and Clark prompted the North West Company to charge Thompson with the task of finding a route to the Pacific to open up the lucrative trading territories of the Pacific Northwest.

Answer this question "Did he do a third significant survey ?"
output: finding a route to the Pacific to open up the lucrative trading territories of the Pacific Northwest.

input: In the 1970s Corea started working with vibraphonist Gary Burton, with whom he recorded several duet albums for ECM, including 1972's Crystal Silence. They reunited in 2006 for a concert tour. A new record called The New Crystal Silence was issued in 2008 and won a Grammy Award in 2009. The package includes a disc of duets and another disc with the Sydney Symphony Orchestra.  Toward the end of the 1970s, Corea embarked on a series of concerts and two albums with Hancock. These concerts were presented in elegant settings with both pianists dressed formally and performing on Yamaha concert grand pianos. The two traded playing each other's compositions, as well as pieces by other composers such as Bela Bartok. In 1982, Corea performed The Meeting, a live duet with the classical pianist Friedrich Gulda.  In December 2007 Corea recorded a duet album, The Enchantment, with banjoist Bela Fleck. Fleck and Corea toured extensively for the album in 2007. Fleck was nominated in the Best Instrumental Composition category at the 49th Grammy Awards for the track "Spectacle".  In 2008 Corea collaborated with Japanese pianist Hiromi Uehara on the live album Duet (Chick Corea and Hiromi). The duo played a concert at Tokyo's Budokan arena on April 30.  In 2015 Corea reprised the duet concert series with Hancock, again sticking to a dueling-piano format, though both also had synthesizers at their station. The first concert in this series was played at the Paramount Theatre in Seattle, and featured improvised music along with iconic songs from each of the duo and standards from other composers.

Answer this question "Were the albums successful?"
output: A new record called The New Crystal Silence was issued in 2008 and won a Grammy Award in 2009.

input: Unlike Lully, who collaborated with Philippe Quinault on almost all his operas, Rameau rarely worked with the same librettist twice. He was highly demanding and bad-tempered, unable to maintain longstanding partnerships with his librettists, with the exception of Louis de Cahusac, who collaborated with him on several operas, including Les fetes de l'Hymen et de l'Amour (1747), Zais (1748), Nais (1749), Zoroastre (1749; revised 1756), La naissance d'Osiris (1754), and Anacreon (the first of Rameau's operas by that name, 1754). He is also credited with writing the libretto of Rameau's final work, Les Boreades (c. 1763).  Many Rameau specialists have regretted that the collaboration with Houdar de la Motte never took place, and that the Samson project with Voltaire came to nothing because the librettists Rameau did work with were second-rate. He made his acquaintance of most of them at La Poupliniere's salon, at the Societe du Caveau, or at the house of the Comte de Livry, all meeting places for leading cultural figures of the day.  Not one of his librettists managed to produce a libretto on the same artistic level as Rameau's music: the plots were often overly complex or unconvincing. But this was standard for the genre, and is probably part of its charm. The versification, too, was mediocre, and Rameau often had to have the libretto modified and rewrite the music after the premiere because of the ensuing criticism. This is why we have two versions of Castor et Pollux (1737 and 1754) and three of Dardanus (1739, 1744, and 1760).

Answer this question "Did they produce any notable music?"
output: