"a charming work" with an opening theme that has "an English flavour, easily lyrical" leading to variations "full of sharp, sparkling contrasts … although no deep emotions are touched this is a delightful piece". For the theatre, Hahn composed incidental music for more than 20 productions between 1890 and 1939, employing a variety of forces, from mezzo-soprano and children's chorus or soloists and two pianos to full orchestra. Playwrights ranged from Daudet and Hugo to Racine, and Miguel Zamacois. In 1934 he wrote scores for a film adaptation of La Dame aux Camélias and Léonce Perret's Sapho. As well as the 1912 Diaghilev ballet Le Dieu bleu, he supplied original ballet or other dance scores for five other theatrical productions between 1892 and 1939. Chamber and solo piano Hahn, whose musical outlook was shaped in the 19th century, regarded Fauré as the last great composer, and musical analysts have noted the older composer's influence in several of Hahn's chamber works. In the Piano Quintet (written in 1922 and published the following year) there are stylistic and thematic echoes of Fauré, particularly in the C-sharp minor slow movement, although in a 2001 analysis Francis Pott also notes the influence of Dvořák. In the Violin Sonata (1926) there are further echoes of Faure's music in the opening movement ("imbued with Gallic restraint and supple expressivity" according to the commentator Jeremy Filsell), but Hahn departs from convention by making much of the last movement gentle and melancholic, rather than boisterous. The Piano Quartet (1946), a late work, is in three movements, and alternates serene passages and more turbulent sections. Like the Violin Sonata, it is a concise work, taking a little over 20 minutes in performance. Most of Hahn's works for solo piano come from the first half of his career. Some are in conventional forms, including a set of ten waltzes (1896), a sonatine (1907), Thème varié sur le nom de Haydn (1910) and two études (1927, his only post-war piano works). The sonatine is a full-scale piano sonata but, like Ravel, Hahn was daunted by any possible comparison with Beethoven's late piano sonatas, and preferred the more modest title. Other solo piano works are in unusual forms, such as the Portraits de peintres (1894), written to be played between spoken verses, or Le Rossignol éperdu (The Distraught Nightingale), Hahn's most extensive piano work, composed between 1902 and 1910 and published in