The second movement of Maurice Ravel's piano suite "Le Tombeau de Couperin" (1917) is a fugue that Roy Howat (200, p. 88) describes as having "a subtle glint of jazz". Béla Bartók's "Music for Strings, Percussion and Celesta" (1936) opens with a slow fugue that Pierre Boulez (1986, pp. 346–47) regards as "certainly the finest and most characteristic example of Bartók's subtle style... probably the most "timeless" of all Bartók's works – a fugue that unfolds like a fan to a point of maximum intensity and then closes, returning to the mysterious atmosphere of the opening."