On the cutting edge of modernism among French composers in the early twentieth century, Florent Schmitt (1880-1958) was ultimately branded as conservative. Schmitt is best known for his cantata La tragédie de Salomé (1907) and his Piano Quintet (1908), both pioneering, difficult works that pushed post-romantic harmony through impressionism to the extent of near atonality, impressing the young Stravinsky. But Schmitt's later music grew increasingly more unremarkable as his professional status as conservatory head and critic began to evolve. Schmitt nevertheless tried his hand at many styles, and often well; he composed two symphonies, film scores, and many outstanding works for piano.