Clusters were also beginning to appear in more pieces by European composers. Isaac Albéniz's use of them in "Iberia" (1905–8) may have influenced Gabriel Fauré's subsequent piano writing. Joseph Horowitz has suggested that the "dissonant star clusters" in its third and fourth books were particularly compelling to Olivier Messiaen, who called "Iberia" "the wonder of the piano." The Thomas de Hartmann score for Wassily Kandinsky's stage show "The Yellow Sound" (1909) employs a chromatic cluster at two climactic points. Alban Berg's Four Pieces for clarinet and piano (1913) calls for clusters along with other avant-garde keyboard techniques. Claude Debussy's Piano Prelude "La Cathédrale Engloutie" makes powerful use of clusters to evoke the sound of “pealing bells – with so many added major seconds one would call this pan-diatonic harmony.” In his 1913 piano prelude "General Lavine – Excentric", one of the first pieces to be influenced by black American popular styles (the Cakewalk) Debussy features abrasive tone clusters at the conclusion of the following passage: In his 1915 arrangement for solo piano of his "Six Epigraphes Antiques" (1914), originally a set of piano duets, Debussy includes tone clusters in the fifth piece, "Pour l'Egyptienne". Russian composer Vladimir Rebikov used them extensively in his "Three Idylles", Op. 50, written in 1913. Richard Strauss's "An Alpine Symphony" (1915) "starts and ends with the setting sun—a B flat minor chord cluster slowly built down."