The chamber works of Poulenc's middle period were written in the 1930s and 1940s. The best known is the Sextet for Piano and Wind (1932), in Poulenc's light-hearted vein, consisting of two lively outer movements and a central "divertimento"; this was one of several chamber works that the composer became dissatisfied with and revised extensively some years after their first performance (in this case in 1939–40). The sonatas in this group are for violin and piano (1942–43) and for cello and piano (1948). Writing for strings did not come easily to Poulenc; these sonatas were completed after two unsuccessful earlier attempts, and in 1947 he destroyed the draft of a string quartet. Both sonatas are predominantly grave in character; that for violin is dedicated to the memory of Federico García Lorca. Commentators including Hell, Schmidt and Poulenc himself have regarded it, and to some extent the cello sonata, as less effective than those for wind. The "Aubade", "Concerto choréographique" for piano and 18 instruments (1930) achieves an almost orchestral effect, despite its modest number of players. The other chamber works from this period are arrangements for small ensembles of two works in Poulenc's lightest vein, the "Suite française" (1935) and the "Trois mouvements perpétuels" (1946).