firmly rejected more recently by Chausson's own biographer Ralph Scott Grover. Ironically, when he was 20, Chausson jotted into his diary “I have the premonition that my life will be short. I’m far from complaining about it, but I should not want to die before having done something." Chausson was buried in Père Lachaise Cemetery in Paris. His funeral was attended by many leading figures of the arts, including Duparc, Gabriel Fauré, Isaac Albéniz, Redon, Edgar Degas, Auguste Rodin, Henri de Régnier, Pierre Louÿs and Claude Debussy. While Chausson's brotherly relationship with Debussy had ended abruptly five years earlier, following his disapproval of Debussy's promiscuity, Debussy never ceased to admire Chausson's music. Eponymy A small park, Square Ernest Chausson, in the 17th arrondissement of Paris is named in his honour. Music The creative work of Chausson is commonly divided into three periods. In the first, his output was stylistically dominated by the influence of Massenet. The second period, dating from 1886, is marked by a more dramatic character, deriving partly from Chausson's contacts with the artistic milieux in which he moved. From his father's death in 1894 dates the beginning of his third period, during which he was especially influenced by his reading of the symbolist poets and Russian literature, particularly Turgenev, Dostoyevsky, and Tolstoy. Chausson's work is deeply individual, but it does reflect some technical influences of both Wagner and his other musical hero, Franck. Stylistic traces not only of Massenet but also of Brahms can be detected sometimes. In general, Chausson's compositional idiom bridges the gap between the ripe Romanticism of Massenet and Franck and the more introverted Impressionism of Debussy. Several delicate and admirable songs came from Chausson's pen. He completed one opera, Le roi Arthus (King Arthur). His orchestral output was small, but significant. It includes the symphonic poem Viviane; the Symphony in B-flat, his sole symphony; Poème for violin and orchestra, an important piece in the violin repertoire; and the dramatic and haunting song-cycle Poème de l'amour et de la mer. Chausson is believed to be the first composer to use the celesta. He employed that instrument in December 1888 in his incidental music, written for a small orchestra, for La Tempête, a French translation by Maurice Bouchor of Shakespeare's The Tempest. Not at all prolific, Chausson left behind only 39 opus-numbered pieces. Musical creation for him always proved to be a long, painful struggle.