In the post-war era there was a reaction against the large-scale music of composers such as Gustav Mahler and Richard Strauss. Stravinsky, whose "Rite of Spring" was written for a huge orchestra, began to work on a much smaller scale. His 1923 ballet score "Les noces" is composed for voices and twenty-one instruments. Ravel did not like the work (his opinion caused a cooling in Stravinsky's friendship with him) but he was in sympathy with the fashion for "dépouillement" – the "stripping away" of pre-war extravagance to reveal the essentials. Many of his works from the 1920s are noticeably sparer in texture than earlier pieces. Other influences on him in this period were jazz and atonality. Jazz was popular in Parisian cafés, and French composers such as Darius Milhaud incorporated elements of it in their work. Ravel commented that he preferred jazz to grand opera, and its influence is heard in his later music. Arnold Schönberg's abandonment of conventional tonality also had echoes in some of Ravel's music such as the "Chansons madécasses" (1926), which Ravel doubted he could have written without the example of "Pierrot Lunaire". His other major works from the 1920s include the orchestral arrangement of Mussorgsky's piano suite "Pictures at an Exhibition" (1922), the opera "L'enfant et les sortilèges" to a libretto by Colette (1926), "Tzigane" (1924) and the Violin Sonata (1927).