and he instilled in Morin a deep love for the works of these two composers. Early career in Quebec and Paris: 1914–1925 With the outbreak of World War I in 1914, Morin returned to Canada where he remained for the next five years. Living in Montreal, he worked actively as a teacher and a concert pianist in Quebec province. In 1918 he co-founded the arts magazine Le Nigog with architect Fernand Préfontaine and writer Robert de Roquebrune. Morin returned to Paris in 1919 after the conclusion of the war. Over the next six years he played an active role in the musical life of that city, collaborating with such notable artists as Alexis Roland-Manuel, Ravel, and Ricardo Viñes. During those years he returned periodically to Canada to visit family and perform in concerts, but spent the majority of his time in Paris. In 1920 he spent some months on a recital tour of England, Belgium, and the Netherlands for which proceeds went towards a monument raised in Debussy's hobour. He later returned to those countries in 1923 in a recital tour with Ravel. In 1926 the Conservatoire de Paris inducted him into the Comité d'honneur alongside Manuel de Falla, Paul Dukas, Arthur Honegger, José Iturbi, Yves Nat, Gabriel Pierné, Ravel, Albert Roussel, Arthur Rubinstein, and Heitor Villa-Lobos. During the early 1920s Morin performed the Parisian premieres of several notable works, including Alban Berg's Piano Sonata in 1922. Composer Rodolphe Mathieu notably dedicated his Trois Préludes to him and he performed the work in its premiere at the Salle Pleyel in 1921. Paul Le Flem wrote the following in his review of a 15 January 1923 recital given by Morin at Paris's Salle Gaveau: "Much praise is due the initiative of this intelligent musician who in a single evening was able to present so effectively music of such diversity. Evincing the subtlest grasp of idiom this artist passed easily from one composer's music to another's, finding the appropriate expression and the right emphasis for each one's thought. He brought to bear brilliant technical accomplishment as well, yet only to demonstrate how a vibrant touch and a sure instinct for sonority could remain submissive to the control of the spirit of the music." Later life and career: 1925–1941 Morin moved from his home in Paris back to Montreal in the Fall of 1925 where he quickly began advocating new French music through