these pieces is "deceptively light and restrained", but that the piano writing continually adds enormously to the charm of the music. A later group of songs (1889) with a linking theme is what Chabrier called his "poultry farm", to lyrics by Edmond Rostand and Rosemonde Gérard, with subjects including fat turkeys, little ducklings, pink pigs and chirping cicadas. Most of the songs are for solo voice and piano, but there is one duet (the comic "Duo de l'ouvresse de l'Opéra-Comique", 1888) and in Chabrier's setting of Baudelaire's "L'invitation au voyage" (1870), the voice and piano are joined by a solo bassoon. Chabrier's last song, "Ode à la Musique", to words by Rostand, is for solo soprano, piano and female choir. Influence The musicologist David Charlton evaluated his influence by saying "While the musical language of Reyer, Massenet and Saint-Saens presented syntheses of current practice, that of Emmanuel Chabrier (1841–1894) was a catalyst: his work became the cradle of French modernism". Debussy, Ravel and Poulenc all acknowledged Chabrier's influence on their music. Debussy wrote in 1893 "Chabrier, Moussorgsky, Palestrina, voilà ce que j'aime" – they are what I love, and said that he could not have written La Damoiselle élue without Chabrier's La sulamite as a model. Huebner remarks on echoes of Chabrier in Debussy's "La soirée dans Grenade" in Estampes, and the piano prelude "Général Lavine – excentric". The influence on Ravel is still more marked. In a 1975 study of the two composers, Delage wrote, "In truth there are few works by Ravel which do not to some extent echo one or another work of Chabrier and of which the harmonic procedures are not derived from him". Ravel paid explicit homage to Chabrier in his A la manière de Chabrier, based on Chabrier's piano piece Mélancolie. Poulenc said that he had L'étoile in mind while he wrote Les mamelles de Tirésias. Huebner comments that the influence of Chabrier on Poulenc and the other members of Les Six was particularly strong, although the later composers were more often drawn to the humorous, parodic side of Chabrier's oeuvre than to the romantic and serious. Other French composers whose music shows the influence of Chabrier include Charles Lecocq, Messager and Satie. Composers from other countries who works show the influence of Chabrier include Stravinsky, whose Petrushka has thematic and melodic echoes of Chabrier, and Mahler, who called España "the beginnings of modern