 Payne asserts that none of the works prior to 1895 are of lasting interest.The first noticeable stylistic advance is evident in "Koanga" (1895–97), with richer chords and faster harmonic rhythms; here we find Delius "feeling his way towards the vein that he was soon to tap so surely".In "Paris" (1899), the orchestration owes a debt to Richard Strauss; its passages of quiet beauty, says Payne, nevertheless lack the deep personal involvement of the later works.