niryuu/sni-each-converted huggingface dataset:
Passage: In 1897 Ravel was readmitted to the Conservatoire, studying composition with Fauré, and taking private lessons in counterpoint with André Gedalge. Both these teachers, particularly Fauré, regarded him highly and were key influences on his development as a composer. As Ravel's course progressed, Fauré reported "a distinct gain in maturity ... engaging wealth of imagination". Ravel's standing at the Conservatoire was nevertheless undermined by the hostility of the Director, Théodore Dubois, who deplored the young man's musically and politically progressive outlook. Consequently, according to a fellow-student, Michel-Dimitri Calvocoressi, he was "a marked man, against whom all weapons were good". He wrote some substantial works while studying with Fauré, including the overture Shéhérazade and a violin sonata, but he won no prizes, and therefore was expelled again in 1900. As a former student he was allowed to attend Fauré's classes as a non-participating "auditeur" until finally abandoning the Conservatoire in 1903.In 1899 Ravel composed his first piece to become widely known, though it made little impact initially: Pavane pour une infante défunte ("Pavane for a dead princess"). It was originally a solo piano work, commissioned by the Princesse de Polignac. In 1897 he conducted the first performance of the Shéhérazade overture, which had a mixed reception, with boos mingling with applause from the audience, and unflattering reviews from the critics. One described the piece as "a jolting debut: a clumsy plagiarism of the Russian School" and called Ravel a "mediocrely gifted debutant ... who will perhaps become something if not someone in about ten years, if he works hard." Another critic, Pierre Lalo, thought that Ravel showed talent, but was too indebted to Debussy and should instead emulate Beethoven. Over the succeeding decades Lalo became Ravel's most implacable critic.From the start of his career, Ravel appeared calmly indifferent to blame or praise. Those who knew him well believed that this was no pose but wholly genuine. The only opinion of his music that he truly valued was his own, perfectionist and severely self-critical. At twenty years of age he was, in the words of the biographer Burnett James, "self-possessed, a little aloof, intellectually biased, given to mild banter." He dressed like a dandy and was meticulous about his appearance and demeanour. Orenstein comments that, short in stature, light in frame, and bony in features, Ravel had the "appearance of a well-dressed jockey", whose large head seemed suitably matched to his formidable intellect. During the late 1890s and into the early years of the next century, Ravel was bearded in the fashion of the day; from his mid-thirties he was clean-shaven.
Output: Who was deplored musically?
Passage: In 1897 Ravel was readmitted to the Conservatoire, studying composition with Fauré, and taking private lessons in counterpoint with André Gedalge. Both these teachers, particularly Fauré, regarded him highly and were key influences on his development as a composer. As Ravel's course progressed, Fauré reported "a distinct gain in maturity ... engaging wealth of imagination". Ravel's standing at the Conservatoire was nevertheless undermined by the hostility of the Director, Théodore Dubois, who deplored the young man's musically and politically progressive outlook. Consequently, according to a fellow-student, Michel-Dimitri Calvocoressi, he was "a marked man, against whom all weapons were good". He wrote some substantial works while studying with Fauré, including the overture Shéhérazade and a violin sonata, but he won no prizes, and therefore was expelled again in 1900. As a former student he was allowed to attend Fauré's classes as a non-participating "auditeur" until finally abandoning the Conservatoire in 1903.In 1899 Ravel composed his first piece to become widely known, though it made little impact initially: Pavane pour une infante défunte ("Pavane for a dead princess"). It was originally a solo piano work, commissioned by the Princesse de Polignac. In 1897 he conducted the first performance of the Shéhérazade overture, which had a mixed reception, with boos mingling with applause from the audience, and unflattering reviews from the critics. One described the piece as "a jolting debut: a clumsy plagiarism of the Russian School" and called Ravel a "mediocrely gifted debutant ... who will perhaps become something if not someone in about ten years, if he works hard." Another critic, Pierre Lalo, thought that Ravel showed talent, but was too indebted to Debussy and should instead emulate Beethoven. Over the succeeding decades Lalo became Ravel's most implacable critic.From the start of his career, Ravel appeared calmly indifferent to blame or praise. Those who knew him well believed that this was no pose but wholly genuine. The only opinion of his music that he truly valued was his own, perfectionist and severely self-critical. At twenty years of age he was, in the words of the biographer Burnett James, "self-possessed, a little aloof, intellectually biased, given to mild banter." He dressed like a dandy and was meticulous about his appearance and demeanour. Orenstein comments that, short in stature, light in frame, and bony in features, Ravel had the "appearance of a well-dressed jockey", whose large head seemed suitably matched to his formidable intellect. During the late 1890s and into the early years of the next century, Ravel was bearded in the fashion of the day; from his mid-thirties he was clean-shaven.
Output: Whose politically progressive outlook was deplored?
Passage: In 1897 Ravel was readmitted to the Conservatoire, studying composition with Fauré, and taking private lessons in counterpoint with André Gedalge. Both these teachers, particularly Fauré, regarded him highly and were key influences on his development as a composer. As Ravel's course progressed, Fauré reported "a distinct gain in maturity ... engaging wealth of imagination". Ravel's standing at the Conservatoire was nevertheless undermined by the hostility of the Director, Théodore Dubois, who deplored the young man's musically and politically progressive outlook. Consequently, according to a fellow-student, Michel-Dimitri Calvocoressi, he was "a marked man, against whom all weapons were good". He wrote some substantial works while studying with Fauré, including the overture Shéhérazade and a violin sonata, but he won no prizes, and therefore was expelled again in 1900. As a former student he was allowed to attend Fauré's classes as a non-participating "auditeur" until finally abandoning the Conservatoire in 1903.In 1899 Ravel composed his first piece to become widely known, though it made little impact initially: Pavane pour une infante défunte ("Pavane for a dead princess"). It was originally a solo piano work, commissioned by the Princesse de Polignac. In 1897 he conducted the first performance of the Shéhérazade overture, which had a mixed reception, with boos mingling with applause from the audience, and unflattering reviews from the critics. One described the piece as "a jolting debut: a clumsy plagiarism of the Russian School" and called Ravel a "mediocrely gifted debutant ... who will perhaps become something if not someone in about ten years, if he works hard." Another critic, Pierre Lalo, thought that Ravel showed talent, but was too indebted to Debussy and should instead emulate Beethoven. Over the succeeding decades Lalo became Ravel's most implacable critic.From the start of his career, Ravel appeared calmly indifferent to blame or praise. Those who knew him well believed that this was no pose but wholly genuine. The only opinion of his music that he truly valued was his own, perfectionist and severely self-critical. At twenty years of age he was, in the words of the biographer Burnett James, "self-possessed, a little aloof, intellectually biased, given to mild banter." He dressed like a dandy and was meticulous about his appearance and demeanour. Orenstein comments that, short in stature, light in frame, and bony in features, Ravel had the "appearance of a well-dressed jockey", whose large head seemed suitably matched to his formidable intellect. During the late 1890s and into the early years of the next century, Ravel was bearded in the fashion of the day; from his mid-thirties he was clean-shaven.
Output: Who was "a marked man, against whom all weapons were good"?
Passage: In 1897 Ravel was readmitted to the Conservatoire, studying composition with Fauré, and taking private lessons in counterpoint with André Gedalge. Both these teachers, particularly Fauré, regarded him highly and were key influences on his development as a composer. As Ravel's course progressed, Fauré reported "a distinct gain in maturity ... engaging wealth of imagination". Ravel's standing at the Conservatoire was nevertheless undermined by the hostility of the Director, Théodore Dubois, who deplored the young man's musically and politically progressive outlook. Consequently, according to a fellow-student, Michel-Dimitri Calvocoressi, he was "a marked man, against whom all weapons were good". He wrote some substantial works while studying with Fauré, including the overture Shéhérazade and a violin sonata, but he won no prizes, and therefore was expelled again in 1900. As a former student he was allowed to attend Fauré's classes as a non-participating "auditeur" until finally abandoning the Conservatoire in 1903.In 1899 Ravel composed his first piece to become widely known, though it made little impact initially: Pavane pour une infante défunte ("Pavane for a dead princess"). It was originally a solo piano work, commissioned by the Princesse de Polignac. In 1897 he conducted the first performance of the Shéhérazade overture, which had a mixed reception, with boos mingling with applause from the audience, and unflattering reviews from the critics. One described the piece as "a jolting debut: a clumsy plagiarism of the Russian School" and called Ravel a "mediocrely gifted debutant ... who will perhaps become something if not someone in about ten years, if he works hard." Another critic, Pierre Lalo, thought that Ravel showed talent, but was too indebted to Debussy and should instead emulate Beethoven. Over the succeeding decades Lalo became Ravel's most implacable critic.From the start of his career, Ravel appeared calmly indifferent to blame or praise. Those who knew him well believed that this was no pose but wholly genuine. The only opinion of his music that he truly valued was his own, perfectionist and severely self-critical. At twenty years of age he was, in the words of the biographer Burnett James, "self-possessed, a little aloof, intellectually biased, given to mild banter." He dressed like a dandy and was meticulous about his appearance and demeanour. Orenstein comments that, short in stature, light in frame, and bony in features, Ravel had the "appearance of a well-dressed jockey", whose large head seemed suitably matched to his formidable intellect. During the late 1890s and into the early years of the next century, Ravel was bearded in the fashion of the day; from his mid-thirties he was clean-shaven.
Output: Who wrote some substantial works while studying with Fauré?
Passage: In 1897 Ravel was readmitted to the Conservatoire, studying composition with Fauré, and taking private lessons in counterpoint with André Gedalge. Both these teachers, particularly Fauré, regarded him highly and were key influences on his development as a composer. As Ravel's course progressed, Fauré reported "a distinct gain in maturity ... engaging wealth of imagination". Ravel's standing at the Conservatoire was nevertheless undermined by the hostility of the Director, Théodore Dubois, who deplored the young man's musically and politically progressive outlook. Consequently, according to a fellow-student, Michel-Dimitri Calvocoressi, he was "a marked man, against whom all weapons were good". He wrote some substantial works while studying with Fauré, including the overture Shéhérazade and a violin sonata, but he won no prizes, and therefore was expelled again in 1900. As a former student he was allowed to attend Fauré's classes as a non-participating "auditeur" until finally abandoning the Conservatoire in 1903.In 1899 Ravel composed his first piece to become widely known, though it made little impact initially: Pavane pour une infante défunte ("Pavane for a dead princess"). It was originally a solo piano work, commissioned by the Princesse de Polignac. In 1897 he conducted the first performance of the Shéhérazade overture, which had a mixed reception, with boos mingling with applause from the audience, and unflattering reviews from the critics. One described the piece as "a jolting debut: a clumsy plagiarism of the Russian School" and called Ravel a "mediocrely gifted debutant ... who will perhaps become something if not someone in about ten years, if he works hard." Another critic, Pierre Lalo, thought that Ravel showed talent, but was too indebted to Debussy and should instead emulate Beethoven. Over the succeeding decades Lalo became Ravel's most implacable critic.From the start of his career, Ravel appeared calmly indifferent to blame or praise. Those who knew him well believed that this was no pose but wholly genuine. The only opinion of his music that he truly valued was his own, perfectionist and severely self-critical. At twenty years of age he was, in the words of the biographer Burnett James, "self-possessed, a little aloof, intellectually biased, given to mild banter." He dressed like a dandy and was meticulous about his appearance and demeanour. Orenstein comments that, short in stature, light in frame, and bony in features, Ravel had the "appearance of a well-dressed jockey", whose large head seemed suitably matched to his formidable intellect. During the late 1890s and into the early years of the next century, Ravel was bearded in the fashion of the day; from his mid-thirties he was clean-shaven.
Output: Who wrote the overture Shéhérazade ?
Passage: In 1897 Ravel was readmitted to the Conservatoire, studying composition with Fauré, and taking private lessons in counterpoint with André Gedalge. Both these teachers, particularly Fauré, regarded him highly and were key influences on his development as a composer. As Ravel's course progressed, Fauré reported "a distinct gain in maturity ... engaging wealth of imagination". Ravel's standing at the Conservatoire was nevertheless undermined by the hostility of the Director, Théodore Dubois, who deplored the young man's musically and politically progressive outlook. Consequently, according to a fellow-student, Michel-Dimitri Calvocoressi, he was "a marked man, against whom all weapons were good". He wrote some substantial works while studying with Fauré, including the overture Shéhérazade and a violin sonata, but he won no prizes, and therefore was expelled again in 1900. As a former student he was allowed to attend Fauré's classes as a non-participating "auditeur" until finally abandoning the Conservatoire in 1903.In 1899 Ravel composed his first piece to become widely known, though it made little impact initially: Pavane pour une infante défunte ("Pavane for a dead princess"). It was originally a solo piano work, commissioned by the Princesse de Polignac. In 1897 he conducted the first performance of the Shéhérazade overture, which had a mixed reception, with boos mingling with applause from the audience, and unflattering reviews from the critics. One described the piece as "a jolting debut: a clumsy plagiarism of the Russian School" and called Ravel a "mediocrely gifted debutant ... who will perhaps become something if not someone in about ten years, if he works hard." Another critic, Pierre Lalo, thought that Ravel showed talent, but was too indebted to Debussy and should instead emulate Beethoven. Over the succeeding decades Lalo became Ravel's most implacable critic.From the start of his career, Ravel appeared calmly indifferent to blame or praise. Those who knew him well believed that this was no pose but wholly genuine. The only opinion of his music that he truly valued was his own, perfectionist and severely self-critical. At twenty years of age he was, in the words of the biographer Burnett James, "self-possessed, a little aloof, intellectually biased, given to mild banter." He dressed like a dandy and was meticulous about his appearance and demeanour. Orenstein comments that, short in stature, light in frame, and bony in features, Ravel had the "appearance of a well-dressed jockey", whose large head seemed suitably matched to his formidable intellect. During the late 1890s and into the early years of the next century, Ravel was bearded in the fashion of the day; from his mid-thirties he was clean-shaven.
Output: Who wrote a violin sonata?
Passage: In 1897 Ravel was readmitted to the Conservatoire, studying composition with Fauré, and taking private lessons in counterpoint with André Gedalge. Both these teachers, particularly Fauré, regarded him highly and were key influences on his development as a composer. As Ravel's course progressed, Fauré reported "a distinct gain in maturity ... engaging wealth of imagination". Ravel's standing at the Conservatoire was nevertheless undermined by the hostility of the Director, Théodore Dubois, who deplored the young man's musically and politically progressive outlook. Consequently, according to a fellow-student, Michel-Dimitri Calvocoressi, he was "a marked man, against whom all weapons were good". He wrote some substantial works while studying with Fauré, including the overture Shéhérazade and a violin sonata, but he won no prizes, and therefore was expelled again in 1900. As a former student he was allowed to attend Fauré's classes as a non-participating "auditeur" until finally abandoning the Conservatoire in 1903.In 1899 Ravel composed his first piece to become widely known, though it made little impact initially: Pavane pour une infante défunte ("Pavane for a dead princess"). It was originally a solo piano work, commissioned by the Princesse de Polignac. In 1897 he conducted the first performance of the Shéhérazade overture, which had a mixed reception, with boos mingling with applause from the audience, and unflattering reviews from the critics. One described the piece as "a jolting debut: a clumsy plagiarism of the Russian School" and called Ravel a "mediocrely gifted debutant ... who will perhaps become something if not someone in about ten years, if he works hard." Another critic, Pierre Lalo, thought that Ravel showed talent, but was too indebted to Debussy and should instead emulate Beethoven. Over the succeeding decades Lalo became Ravel's most implacable critic.From the start of his career, Ravel appeared calmly indifferent to blame or praise. Those who knew him well believed that this was no pose but wholly genuine. The only opinion of his music that he truly valued was his own, perfectionist and severely self-critical. At twenty years of age he was, in the words of the biographer Burnett James, "self-possessed, a little aloof, intellectually biased, given to mild banter." He dressed like a dandy and was meticulous about his appearance and demeanour. Orenstein comments that, short in stature, light in frame, and bony in features, Ravel had the "appearance of a well-dressed jockey", whose large head seemed suitably matched to his formidable intellect. During the late 1890s and into the early years of the next century, Ravel was bearded in the fashion of the day; from his mid-thirties he was clean-shaven.
Output: Who won no prizes?
Passage: In 1897 Ravel was readmitted to the Conservatoire, studying composition with Fauré, and taking private lessons in counterpoint with André Gedalge. Both these teachers, particularly Fauré, regarded him highly and were key influences on his development as a composer. As Ravel's course progressed, Fauré reported "a distinct gain in maturity ... engaging wealth of imagination". Ravel's standing at the Conservatoire was nevertheless undermined by the hostility of the Director, Théodore Dubois, who deplored the young man's musically and politically progressive outlook. Consequently, according to a fellow-student, Michel-Dimitri Calvocoressi, he was "a marked man, against whom all weapons were good". He wrote some substantial works while studying with Fauré, including the overture Shéhérazade and a violin sonata, but he won no prizes, and therefore was expelled again in 1900. As a former student he was allowed to attend Fauré's classes as a non-participating "auditeur" until finally abandoning the Conservatoire in 1903.In 1899 Ravel composed his first piece to become widely known, though it made little impact initially: Pavane pour une infante défunte ("Pavane for a dead princess"). It was originally a solo piano work, commissioned by the Princesse de Polignac. In 1897 he conducted the first performance of the Shéhérazade overture, which had a mixed reception, with boos mingling with applause from the audience, and unflattering reviews from the critics. One described the piece as "a jolting debut: a clumsy plagiarism of the Russian School" and called Ravel a "mediocrely gifted debutant ... who will perhaps become something if not someone in about ten years, if he works hard." Another critic, Pierre Lalo, thought that Ravel showed talent, but was too indebted to Debussy and should instead emulate Beethoven. Over the succeeding decades Lalo became Ravel's most implacable critic.From the start of his career, Ravel appeared calmly indifferent to blame or praise. Those who knew him well believed that this was no pose but wholly genuine. The only opinion of his music that he truly valued was his own, perfectionist and severely self-critical. At twenty years of age he was, in the words of the biographer Burnett James, "self-possessed, a little aloof, intellectually biased, given to mild banter." He dressed like a dandy and was meticulous about his appearance and demeanour. Orenstein comments that, short in stature, light in frame, and bony in features, Ravel had the "appearance of a well-dressed jockey", whose large head seemed suitably matched to his formidable intellect. During the late 1890s and into the early years of the next century, Ravel was bearded in the fashion of the day; from his mid-thirties he was clean-shaven.
Output: Who conducted the first performance of the Shéhérazade overture in 1897?
Passage: In 1897 Ravel was readmitted to the Conservatoire, studying composition with Fauré, and taking private lessons in counterpoint with André Gedalge. Both these teachers, particularly Fauré, regarded him highly and were key influences on his development as a composer. As Ravel's course progressed, Fauré reported "a distinct gain in maturity ... engaging wealth of imagination". Ravel's standing at the Conservatoire was nevertheless undermined by the hostility of the Director, Théodore Dubois, who deplored the young man's musically and politically progressive outlook. Consequently, according to a fellow-student, Michel-Dimitri Calvocoressi, he was "a marked man, against whom all weapons were good". He wrote some substantial works while studying with Fauré, including the overture Shéhérazade and a violin sonata, but he won no prizes, and therefore was expelled again in 1900. As a former student he was allowed to attend Fauré's classes as a non-participating "auditeur" until finally abandoning the Conservatoire in 1903.In 1899 Ravel composed his first piece to become widely known, though it made little impact initially: Pavane pour une infante défunte ("Pavane for a dead princess"). It was originally a solo piano work, commissioned by the Princesse de Polignac. In 1897 he conducted the first performance of the Shéhérazade overture, which had a mixed reception, with boos mingling with applause from the audience, and unflattering reviews from the critics. One described the piece as "a jolting debut: a clumsy plagiarism of the Russian School" and called Ravel a "mediocrely gifted debutant ... who will perhaps become something if not someone in about ten years, if he works hard." Another critic, Pierre Lalo, thought that Ravel showed talent, but was too indebted to Debussy and should instead emulate Beethoven. Over the succeeding decades Lalo became Ravel's most implacable critic.From the start of his career, Ravel appeared calmly indifferent to blame or praise. Those who knew him well believed that this was no pose but wholly genuine. The only opinion of his music that he truly valued was his own, perfectionist and severely self-critical. At twenty years of age he was, in the words of the biographer Burnett James, "self-possessed, a little aloof, intellectually biased, given to mild banter." He dressed like a dandy and was meticulous about his appearance and demeanour. Orenstein comments that, short in stature, light in frame, and bony in features, Ravel had the "appearance of a well-dressed jockey", whose large head seemed suitably matched to his formidable intellect. During the late 1890s and into the early years of the next century, Ravel was bearded in the fashion of the day; from his mid-thirties he was clean-shaven.
Output: What is the name of the young man whose musically and politically progressive outlook was deplored by the Director of the Conservatoire?
Passage: In 1897 Ravel was readmitted to the Conservatoire, studying composition with Fauré, and taking private lessons in counterpoint with André Gedalge. Both these teachers, particularly Fauré, regarded him highly and were key influences on his development as a composer. As Ravel's course progressed, Fauré reported "a distinct gain in maturity ... engaging wealth of imagination". Ravel's standing at the Conservatoire was nevertheless undermined by the hostility of the Director, Théodore Dubois, who deplored the young man's musically and politically progressive outlook. Consequently, according to a fellow-student, Michel-Dimitri Calvocoressi, he was "a marked man, against whom all weapons were good". He wrote some substantial works while studying with Fauré, including the overture Shéhérazade and a violin sonata, but he won no prizes, and therefore was expelled again in 1900. As a former student he was allowed to attend Fauré's classes as a non-participating "auditeur" until finally abandoning the Conservatoire in 1903.In 1899 Ravel composed his first piece to become widely known, though it made little impact initially: Pavane pour une infante défunte ("Pavane for a dead princess"). It was originally a solo piano work, commissioned by the Princesse de Polignac. In 1897 he conducted the first performance of the Shéhérazade overture, which had a mixed reception, with boos mingling with applause from the audience, and unflattering reviews from the critics. One described the piece as "a jolting debut: a clumsy plagiarism of the Russian School" and called Ravel a "mediocrely gifted debutant ... who will perhaps become something if not someone in about ten years, if he works hard." Another critic, Pierre Lalo, thought that Ravel showed talent, but was too indebted to Debussy and should instead emulate Beethoven. Over the succeeding decades Lalo became Ravel's most implacable critic.From the start of his career, Ravel appeared calmly indifferent to blame or praise. Those who knew him well believed that this was no pose but wholly genuine. The only opinion of his music that he truly valued was his own, perfectionist and severely self-critical. At twenty years of age he was, in the words of the biographer Burnett James, "self-possessed, a little aloof, intellectually biased, given to mild banter." He dressed like a dandy and was meticulous about his appearance and demeanour. Orenstein comments that, short in stature, light in frame, and bony in features, Ravel had the "appearance of a well-dressed jockey", whose large head seemed suitably matched to his formidable intellect. During the late 1890s and into the early years of the next century, Ravel was bearded in the fashion of the day; from his mid-thirties he was clean-shaven.
Output: What is the name of the person who was reportedly "a marked man, against whom all weapons were good," according to fellow student Calvocoressi?
Passage: In 1897 Ravel was readmitted to the Conservatoire, studying composition with Fauré, and taking private lessons in counterpoint with André Gedalge. Both these teachers, particularly Fauré, regarded him highly and were key influences on his development as a composer. As Ravel's course progressed, Fauré reported "a distinct gain in maturity ... engaging wealth of imagination". Ravel's standing at the Conservatoire was nevertheless undermined by the hostility of the Director, Théodore Dubois, who deplored the young man's musically and politically progressive outlook. Consequently, according to a fellow-student, Michel-Dimitri Calvocoressi, he was "a marked man, against whom all weapons were good". He wrote some substantial works while studying with Fauré, including the overture Shéhérazade and a violin sonata, but he won no prizes, and therefore was expelled again in 1900. As a former student he was allowed to attend Fauré's classes as a non-participating "auditeur" until finally abandoning the Conservatoire in 1903.In 1899 Ravel composed his first piece to become widely known, though it made little impact initially: Pavane pour une infante défunte ("Pavane for a dead princess"). It was originally a solo piano work, commissioned by the Princesse de Polignac. In 1897 he conducted the first performance of the Shéhérazade overture, which had a mixed reception, with boos mingling with applause from the audience, and unflattering reviews from the critics. One described the piece as "a jolting debut: a clumsy plagiarism of the Russian School" and called Ravel a "mediocrely gifted debutant ... who will perhaps become something if not someone in about ten years, if he works hard." Another critic, Pierre Lalo, thought that Ravel showed talent, but was too indebted to Debussy and should instead emulate Beethoven. Over the succeeding decades Lalo became Ravel's most implacable critic.From the start of his career, Ravel appeared calmly indifferent to blame or praise. Those who knew him well believed that this was no pose but wholly genuine. The only opinion of his music that he truly valued was his own, perfectionist and severely self-critical. At twenty years of age he was, in the words of the biographer Burnett James, "self-possessed, a little aloof, intellectually biased, given to mild banter." He dressed like a dandy and was meticulous about his appearance and demeanour. Orenstein comments that, short in stature, light in frame, and bony in features, Ravel had the "appearance of a well-dressed jockey", whose large head seemed suitably matched to his formidable intellect. During the late 1890s and into the early years of the next century, Ravel was bearded in the fashion of the day; from his mid-thirties he was clean-shaven.
Output: What is the name of the person who wrote the overture Shéhérazade and a violin sonata while studying with Fauré?
Passage: In 1897 Ravel was readmitted to the Conservatoire, studying composition with Fauré, and taking private lessons in counterpoint with André Gedalge. Both these teachers, particularly Fauré, regarded him highly and were key influences on his development as a composer. As Ravel's course progressed, Fauré reported "a distinct gain in maturity ... engaging wealth of imagination". Ravel's standing at the Conservatoire was nevertheless undermined by the hostility of the Director, Théodore Dubois, who deplored the young man's musically and politically progressive outlook. Consequently, according to a fellow-student, Michel-Dimitri Calvocoressi, he was "a marked man, against whom all weapons were good". He wrote some substantial works while studying with Fauré, including the overture Shéhérazade and a violin sonata, but he won no prizes, and therefore was expelled again in 1900. As a former student he was allowed to attend Fauré's classes as a non-participating "auditeur" until finally abandoning the Conservatoire in 1903.In 1899 Ravel composed his first piece to become widely known, though it made little impact initially: Pavane pour une infante défunte ("Pavane for a dead princess"). It was originally a solo piano work, commissioned by the Princesse de Polignac. In 1897 he conducted the first performance of the Shéhérazade overture, which had a mixed reception, with boos mingling with applause from the audience, and unflattering reviews from the critics. One described the piece as "a jolting debut: a clumsy plagiarism of the Russian School" and called Ravel a "mediocrely gifted debutant ... who will perhaps become something if not someone in about ten years, if he works hard." Another critic, Pierre Lalo, thought that Ravel showed talent, but was too indebted to Debussy and should instead emulate Beethoven. Over the succeeding decades Lalo became Ravel's most implacable critic.From the start of his career, Ravel appeared calmly indifferent to blame or praise. Those who knew him well believed that this was no pose but wholly genuine. The only opinion of his music that he truly valued was his own, perfectionist and severely self-critical. At twenty years of age he was, in the words of the biographer Burnett James, "self-possessed, a little aloof, intellectually biased, given to mild banter." He dressed like a dandy and was meticulous about his appearance and demeanour. Orenstein comments that, short in stature, light in frame, and bony in features, Ravel had the "appearance of a well-dressed jockey", whose large head seemed suitably matched to his formidable intellect. During the late 1890s and into the early years of the next century, Ravel was bearded in the fashion of the day; from his mid-thirties he was clean-shaven.
Output: What is the name of the person who won no prizes for his works while studying with Fauré, thus was expelled again in 1900?
Passage: In 1897 Ravel was readmitted to the Conservatoire, studying composition with Fauré, and taking private lessons in counterpoint with André Gedalge. Both these teachers, particularly Fauré, regarded him highly and were key influences on his development as a composer. As Ravel's course progressed, Fauré reported "a distinct gain in maturity ... engaging wealth of imagination". Ravel's standing at the Conservatoire was nevertheless undermined by the hostility of the Director, Théodore Dubois, who deplored the young man's musically and politically progressive outlook. Consequently, according to a fellow-student, Michel-Dimitri Calvocoressi, he was "a marked man, against whom all weapons were good". He wrote some substantial works while studying with Fauré, including the overture Shéhérazade and a violin sonata, but he won no prizes, and therefore was expelled again in 1900. As a former student he was allowed to attend Fauré's classes as a non-participating "auditeur" until finally abandoning the Conservatoire in 1903.In 1899 Ravel composed his first piece to become widely known, though it made little impact initially: Pavane pour une infante défunte ("Pavane for a dead princess"). It was originally a solo piano work, commissioned by the Princesse de Polignac. In 1897 he conducted the first performance of the Shéhérazade overture, which had a mixed reception, with boos mingling with applause from the audience, and unflattering reviews from the critics. One described the piece as "a jolting debut: a clumsy plagiarism of the Russian School" and called Ravel a "mediocrely gifted debutant ... who will perhaps become something if not someone in about ten years, if he works hard." Another critic, Pierre Lalo, thought that Ravel showed talent, but was too indebted to Debussy and should instead emulate Beethoven. Over the succeeding decades Lalo became Ravel's most implacable critic.From the start of his career, Ravel appeared calmly indifferent to blame or praise. Those who knew him well believed that this was no pose but wholly genuine. The only opinion of his music that he truly valued was his own, perfectionist and severely self-critical. At twenty years of age he was, in the words of the biographer Burnett James, "self-possessed, a little aloof, intellectually biased, given to mild banter." He dressed like a dandy and was meticulous about his appearance and demeanour. Orenstein comments that, short in stature, light in frame, and bony in features, Ravel had the "appearance of a well-dressed jockey", whose large head seemed suitably matched to his formidable intellect. During the late 1890s and into the early years of the next century, Ravel was bearded in the fashion of the day; from his mid-thirties he was clean-shaven.
Output: What is the name of the person who conducted the first performance of the Shéhérazade overture in 1897, which had a mixed reception?
Passage: In 1897 Ravel was readmitted to the Conservatoire, studying composition with Fauré, and taking private lessons in counterpoint with André Gedalge. Both these teachers, particularly Fauré, regarded him highly and were key influences on his development as a composer. As Ravel's course progressed, Fauré reported "a distinct gain in maturity ... engaging wealth of imagination". Ravel's standing at the Conservatoire was nevertheless undermined by the hostility of the Director, Théodore Dubois, who deplored the young man's musically and politically progressive outlook. Consequently, according to a fellow-student, Michel-Dimitri Calvocoressi, he was "a marked man, against whom all weapons were good". He wrote some substantial works while studying with Fauré, including the overture Shéhérazade and a violin sonata, but he won no prizes, and therefore was expelled again in 1900. As a former student he was allowed to attend Fauré's classes as a non-participating "auditeur" until finally abandoning the Conservatoire in 1903.In 1899 Ravel composed his first piece to become widely known, though it made little impact initially: Pavane pour une infante défunte ("Pavane for a dead princess"). It was originally a solo piano work, commissioned by the Princesse de Polignac. In 1897 he conducted the first performance of the Shéhérazade overture, which had a mixed reception, with boos mingling with applause from the audience, and unflattering reviews from the critics. One described the piece as "a jolting debut: a clumsy plagiarism of the Russian School" and called Ravel a "mediocrely gifted debutant ... who will perhaps become something if not someone in about ten years, if he works hard." Another critic, Pierre Lalo, thought that Ravel showed talent, but was too indebted to Debussy and should instead emulate Beethoven. Over the succeeding decades Lalo became Ravel's most implacable critic.From the start of his career, Ravel appeared calmly indifferent to blame or praise. Those who knew him well believed that this was no pose but wholly genuine. The only opinion of his music that he truly valued was his own, perfectionist and severely self-critical. At twenty years of age he was, in the words of the biographer Burnett James, "self-possessed, a little aloof, intellectually biased, given to mild banter." He dressed like a dandy and was meticulous about his appearance and demeanour. Orenstein comments that, short in stature, light in frame, and bony in features, Ravel had the "appearance of a well-dressed jockey", whose large head seemed suitably matched to his formidable intellect. During the late 1890s and into the early years of the next century, Ravel was bearded in the fashion of the day; from his mid-thirties he was clean-shaven.
Output: What is the name of the piece conducted by Ravel that was described by one critic as "a jolting debut: a clumsy plagiarism of the Russian School"?
Passage: In 1897 Ravel was readmitted to the Conservatoire, studying composition with Fauré, and taking private lessons in counterpoint with André Gedalge. Both these teachers, particularly Fauré, regarded him highly and were key influences on his development as a composer. As Ravel's course progressed, Fauré reported "a distinct gain in maturity ... engaging wealth of imagination". Ravel's standing at the Conservatoire was nevertheless undermined by the hostility of the Director, Théodore Dubois, who deplored the young man's musically and politically progressive outlook. Consequently, according to a fellow-student, Michel-Dimitri Calvocoressi, he was "a marked man, against whom all weapons were good". He wrote some substantial works while studying with Fauré, including the overture Shéhérazade and a violin sonata, but he won no prizes, and therefore was expelled again in 1900. As a former student he was allowed to attend Fauré's classes as a non-participating "auditeur" until finally abandoning the Conservatoire in 1903.In 1899 Ravel composed his first piece to become widely known, though it made little impact initially: Pavane pour une infante défunte ("Pavane for a dead princess"). It was originally a solo piano work, commissioned by the Princesse de Polignac. In 1897 he conducted the first performance of the Shéhérazade overture, which had a mixed reception, with boos mingling with applause from the audience, and unflattering reviews from the critics. One described the piece as "a jolting debut: a clumsy plagiarism of the Russian School" and called Ravel a "mediocrely gifted debutant ... who will perhaps become something if not someone in about ten years, if he works hard." Another critic, Pierre Lalo, thought that Ravel showed talent, but was too indebted to Debussy and should instead emulate Beethoven. Over the succeeding decades Lalo became Ravel's most implacable critic.From the start of his career, Ravel appeared calmly indifferent to blame or praise. Those who knew him well believed that this was no pose but wholly genuine. The only opinion of his music that he truly valued was his own, perfectionist and severely self-critical. At twenty years of age he was, in the words of the biographer Burnett James, "self-possessed, a little aloof, intellectually biased, given to mild banter." He dressed like a dandy and was meticulous about his appearance and demeanour. Orenstein comments that, short in stature, light in frame, and bony in features, Ravel had the "appearance of a well-dressed jockey", whose large head seemed suitably matched to his formidable intellect. During the late 1890s and into the early years of the next century, Ravel was bearded in the fashion of the day; from his mid-thirties he was clean-shaven.
Output: What is the name of the person whose own opinion of his music was reportedly the only one he truly valued?
Passage: In 1897 Ravel was readmitted to the Conservatoire, studying composition with Fauré, and taking private lessons in counterpoint with André Gedalge. Both these teachers, particularly Fauré, regarded him highly and were key influences on his development as a composer. As Ravel's course progressed, Fauré reported "a distinct gain in maturity ... engaging wealth of imagination". Ravel's standing at the Conservatoire was nevertheless undermined by the hostility of the Director, Théodore Dubois, who deplored the young man's musically and politically progressive outlook. Consequently, according to a fellow-student, Michel-Dimitri Calvocoressi, he was "a marked man, against whom all weapons were good". He wrote some substantial works while studying with Fauré, including the overture Shéhérazade and a violin sonata, but he won no prizes, and therefore was expelled again in 1900. As a former student he was allowed to attend Fauré's classes as a non-participating "auditeur" until finally abandoning the Conservatoire in 1903.In 1899 Ravel composed his first piece to become widely known, though it made little impact initially: Pavane pour une infante défunte ("Pavane for a dead princess"). It was originally a solo piano work, commissioned by the Princesse de Polignac. In 1897 he conducted the first performance of the Shéhérazade overture, which had a mixed reception, with boos mingling with applause from the audience, and unflattering reviews from the critics. One described the piece as "a jolting debut: a clumsy plagiarism of the Russian School" and called Ravel a "mediocrely gifted debutant ... who will perhaps become something if not someone in about ten years, if he works hard." Another critic, Pierre Lalo, thought that Ravel showed talent, but was too indebted to Debussy and should instead emulate Beethoven. Over the succeeding decades Lalo became Ravel's most implacable critic.From the start of his career, Ravel appeared calmly indifferent to blame or praise. Those who knew him well believed that this was no pose but wholly genuine. The only opinion of his music that he truly valued was his own, perfectionist and severely self-critical. At twenty years of age he was, in the words of the biographer Burnett James, "self-possessed, a little aloof, intellectually biased, given to mild banter." He dressed like a dandy and was meticulous about his appearance and demeanour. Orenstein comments that, short in stature, light in frame, and bony in features, Ravel had the "appearance of a well-dressed jockey", whose large head seemed suitably matched to his formidable intellect. During the late 1890s and into the early years of the next century, Ravel was bearded in the fashion of the day; from his mid-thirties he was clean-shaven.
Output: What is the the name of the person whose biographer, Burnett James, describes him as "self-possessed, a little aloof, intellectually biased" and "given to mild banter"?
Passage: In 1897 Ravel was readmitted to the Conservatoire, studying composition with Fauré, and taking private lessons in counterpoint with André Gedalge. Both these teachers, particularly Fauré, regarded him highly and were key influences on his development as a composer. As Ravel's course progressed, Fauré reported "a distinct gain in maturity ... engaging wealth of imagination". Ravel's standing at the Conservatoire was nevertheless undermined by the hostility of the Director, Théodore Dubois, who deplored the young man's musically and politically progressive outlook. Consequently, according to a fellow-student, Michel-Dimitri Calvocoressi, he was "a marked man, against whom all weapons were good". He wrote some substantial works while studying with Fauré, including the overture Shéhérazade and a violin sonata, but he won no prizes, and therefore was expelled again in 1900. As a former student he was allowed to attend Fauré's classes as a non-participating "auditeur" until finally abandoning the Conservatoire in 1903.In 1899 Ravel composed his first piece to become widely known, though it made little impact initially: Pavane pour une infante défunte ("Pavane for a dead princess"). It was originally a solo piano work, commissioned by the Princesse de Polignac. In 1897 he conducted the first performance of the Shéhérazade overture, which had a mixed reception, with boos mingling with applause from the audience, and unflattering reviews from the critics. One described the piece as "a jolting debut: a clumsy plagiarism of the Russian School" and called Ravel a "mediocrely gifted debutant ... who will perhaps become something if not someone in about ten years, if he works hard." Another critic, Pierre Lalo, thought that Ravel showed talent, but was too indebted to Debussy and should instead emulate Beethoven. Over the succeeding decades Lalo became Ravel's most implacable critic.From the start of his career, Ravel appeared calmly indifferent to blame or praise. Those who knew him well believed that this was no pose but wholly genuine. The only opinion of his music that he truly valued was his own, perfectionist and severely self-critical. At twenty years of age he was, in the words of the biographer Burnett James, "self-possessed, a little aloof, intellectually biased, given to mild banter." He dressed like a dandy and was meticulous about his appearance and demeanour. Orenstein comments that, short in stature, light in frame, and bony in features, Ravel had the "appearance of a well-dressed jockey", whose large head seemed suitably matched to his formidable intellect. During the late 1890s and into the early years of the next century, Ravel was bearded in the fashion of the day; from his mid-thirties he was clean-shaven.
Output: What is the name of the person who reportedly dressed like a dandy and was meticulous about his appearance and demeanour?