In some of his scores from the 1920s, including "Daphnis et Chloé", Ravel frequently divides his upper strings, having them play in six to eight parts while the woodwind are required to play with extreme agility. His writing for the brass ranges from softly muted to triple-forte outbursts at climactic points. In the 1930s he tended to simplify his orchestral textures. The lighter tone of the G major Piano Concerto follows the models of Mozart and Saint-Saëns, alongside use of jazz-like themes. The critics Edward Sackville-West and Desmond Shawe-Taylor comment that in the slow movement, "one of the most beautiful tunes Ravel ever invented", the composer "can truly be said to join hands with Mozart". The most popular of Ravel's orchestral works, "Boléro" (1928), was conceived several years before its completion; in 1924 he said that he was contemplating "a symphonic poem without a subject, where the whole interest will be in the rhythm".