the Jungle Book cycle. He died aged 83 at his country home at Le Canadel, Var, and his body is buried there. Some of his papers are housed at the University of California at Berkeley Library, donated by Catherine Urmer's husband Charles Rollins Shatto. In 1940, the French government offered him the award of Chevalier de la Légion d'honneur, but he refused it. Style and compositions Koechlin was enormously prolific, as the worklist below (by no means exhaustive) suggests. He was highly eclectic in inspiration (nature, the mysterious orient, French folksong, Bachian chorale, Hellenistic culture, astronomy, Hollywood movies, etc.) and musical technique, but the expressive core of his language remained distinct from his contemporaries. At the start of his career he concentrated on songs with orchestral accompaniment, few of which were performed as intended during his lifetime. A recent (2006) recording of a selection (Hänssler Classic CD93.159) shows he was already master of an individual impressionism deriving less from Debussy than from Berlioz and Fauré. Thereafter he concentrated on symphonic poems, chamber and instrumental works. After World War I his continuing devotion to the symphonic poem and the large orchestra at a period when neoclassicism and small ensembles were more fashionable may have discouraged performance and acceptance of his works. His compositions include the four symphonic poems and three orchestral songs making up Livre de la jungle after Rudyard Kipling; many other symphonic poems including Le Buisson Ardent after Romain Rolland (this is a diptych of two orchestral poems, performable separately) and Le Docteur Fabricius after a novel by his uncle Charles Dollfus; three string quartets; five symphonies including a Seven Stars Symphony inspired by Hollywood; sonatas for flute, oboe, clarinet, bassoon, horn, violin, viola and cello, and much other chamber music; many songs, over two hundred opus numbers in all; and a vast number of monodies, fugal studies, chorale harmonizations and other educational pieces. Many works remain unpublished, however. He wrote in several styles, sometimes strict Baroque counterpoint, as in the fugue that opens his Second Symphony, and sometimes "impressionistically", as in the tone poem Au Loin, or (though in more astringent fashion) in the scherzo of his Symphony No. 2. He could go from extreme simplicity to extreme complexity of texture and harmony from work to work, or within the same work. Some of his most characteristic effects come from a very static treatment of harmony, savouring the