Bibliographic record
Abstract
During these next eight years, Delius wrote four operas, a piano concerto, six orchestral works and fifteen songs – and by the end of the period he had become a mature composer, with his own utterly distinctive style. However, his great problem – admittedly one that almost all aspiring composers face at the start of their careers – was actually getting anything played or published. There had been the ad hoc performance of Florida at Leipzig in 1888, and the two professional ones of On the Mountains in Norway in 1891 and Monte Carlo in 1894 – but that was that, and, notwithstanding the encouragement of a few friends, it would not be until 1897 that another note of Delius’s was heard in public. The principal reason for the lack of performances can only have been that the mainly salon-type, ‘easy-listening’, music that Delius was still writing in the early 1890s simply stood little chance of acceptance by the major conductors, publishing houses and concert promoters, when by this time audiences in German concert halls and opera houses had already heard works such as Parsifal (1882), Debussy’s L’ Enfant prodigue and Bruckner’s Symphony no. 7 (1884), and Strauss’s Tod und Verklärung (1890 – the same year that Delius began his Suite for violin and orchestra). Nevertheless he persevered. The musical public’s taste in songs, on the other hand, had not advanced anything like as much as that for orchestral music, and so publishers were more willing to take them. In fact, Delius had done reasonably well. Augener Limited of London had issued Fünf Lieder (aus dem Norwegischen) in 1890 and then Three Songs, the Words by Shelley and Sieben Lieder (aus dem Norwegischen) in 1892. In 1896, ‘Le Ciel est par-dessus le toit’ (one of the Deux Mélodies with words by Paul Verlaine) appeared in a French magazine; then, in the same year, L. Grus Fils of Paris produced a book of Cinq Chansons, musique de Fritz Delius (the 1888 ‘O schneller mein Ross’, two of the Sieben Lieder , one of the Shelley songs, and the second of the Deux Mélodies ). Away from his desk, Delius was torn between the ‘high solitudes’ of Norway with a few good friends, and the lively café life of Montparnasse with many.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.002 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.003 | 0.001 |
| Scholarly communication | 0.003 | 0.002 |
| Open science | 0.000 | 0.004 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.143 | 0.060 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".