Fauré suffered from poor health in his later years, brought on in part by heavy smoking. Despite this, he remained available to young composers, including members of Les Six, most of whom were devoted to him. Nectoux writes, "In old age he attained a kind of serenity, without losing any of his remarkable spiritual vitality, but rather removed from the sensualism and the passion of the works he wrote between 1875 and 1895." In his last months, Fauré struggled to complete his String Quartet. Twenty years earlier he had been the dedicatee of Ravel's String Quartet. Ravel and others urged Fauré to compose one of his own. He refused for many years, on the grounds that it was too difficult. When he finally decided to write it, he did so in trepidation, telling his wife, "I've started a Quartet for strings, without piano. This is a genre which Beethoven in particular made famous, and causes all those who are not Beethoven to be terrified of it." He worked on the piece for a year, finishing it on 11 September 1924, less than two months before he died, working long hours towards the end to complete it. The quartet was premiered after his death; he declined an offer to have it performed privately for him in his last days, as his hearing had deteriorated to the point where musical sounds were horribly distorted in his ear. Fauré died in Paris from pneumonia on 4 November 1924 at the age of 79. He was given a state funeral at the Église de la Madeleine and is buried in the Passy Cemetery in Paris. After Fauré's death, the Conservatoire abandoned his radicalism and became resistant to new trends in music, with Fauré's own harmonic practice being held up as the farthest limit of modernity, beyond which students should not go. His successor, Henri Rabaud, director of the Conservatoire from 1922 to 1941, declared "modernism is the enemy". The generation of students born between the wars rejected this outdated premise, turning for inspiration to Bartók, the Second Viennese School, and the latest works of Stravinsky. In a centenary tribute in 1945, the musicologist Leslie Orrey wrote in The Musical Times, "'More profound than Saint-Saëns, more varied than Lalo, more spontaneous than d'Indy, more classic than Debussy, Gabriel Fauré is the master par excellence of French music, the perfect mirror of our musical genius.' Perhaps,