Bibliographic record
Abstract
Duruflé began touring when he was about twenty years old. While his earliest tours took him to Normandy and later to the Côte d’Azur, he eventually concertized in England, Germany, Switzerland, Belgium, Holland, Austria, Spain, North Africa, the former Soviet Union (USSR), Canada, and the United States. Duruflé made his first trip to England to perform for the Organ Music Society in 1938, and returned under their aegis in September 1949. After his marriage to Marie-Madeleine Chevalier, in 1953, he shared many of his tours with her. In 1968 he conducted “ Cum jubilo ” in London, and in 1969 and 1970 he and Mme Duruflé played joint recitals in the Royal Festival Hall. In 1970 they also performed at Chester Cathedral. In the same year, Mme Duruflé played Vierne's Third Symphony at Westminster Abbey as part of a series that featured the complete symphonies of Vierne in observance of the centenary of the composer's birth. In 1971 the couple performed at King's College, Cambridge, then again at Royal Festival Hall, this time for a performance of the Requiem presented by the London Bach Choir and the New Philharmonia Orchestra on February 5, with David Willcocks conducting and Mme Duruflé playing the organ. In North Africa the couple performed at the Tunis cathedral (1954), and at Rabat and Casablanca (1958). They subsequently made two tours of the Soviet Union, in 1965 and 1970. On their first tour, from November 11 to 29, which was arranged through the Service des relations culturelles de Paris, they played seven recitals to capacity audiences, appearing in Moscow and Leningrad (Russia), at the Riga Dom (Latvia), at Philharmonic Hall in Tallinn (Estonia), and in Baku (Azerbaijan). A review of their performance on the Cavaillé-Coll organ at the Bolshoi Conservatory appeared in the journal Sovetskaya Muzyka , the reviewer noting that the arrival of the couple was anticipated with much excitement. The titles of all the pieces printed in their programs “had been ‘purged’ by the soviets of all religious allusions,” so that Variations sur un noël became “Variations sur un thème populaire.”
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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 | 0.000 | 0.001 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.002 |
| Science and technology studies | 0.010 | 0.001 |
| Scholarly communication | 0.005 | 0.002 |
| Open science | 0.001 | 0.004 |
| Research integrity | 0.001 | 0.003 |
| Insufficient payload (model declined to judge) | 0.337 | 0.102 |
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".