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). Finding city life fatiguing, Ravel moved to the countryside. In May 1921 he took up residence at Le Belvédère, a small house on the fringe of Montfort-l'Amaury, west of Paris, in the Yvelines département. Looked after by a devoted housekeeper, Mme Revelot, he lived there for the rest of his life. At Le Belvédère Ravel composed and gardened, when not performing in Paris or abroad. His touring schedule increased considerably in the 1920s, with concerts in Britain, Sweden, Denmark, the US, Canada, Spain, Austria and Italy. The last composition Ravel completed in the 1920s, "Boléro", became his most famous. He was commissioned to provide a score for Ida Rubinstein's ballet company, and having been unable to secure the rights to orchestrate Albéniz's "Iberia", he decided on "an experiment in a very special and limited direction... a piece lasting seventeen minutes and consisting wholly of orchestral tissue without music". Ravel continued that the work was "one long, very gradual crescendo. There are no contrasts, and there is practically no invention except the plan and the manner of the execution. The themes are altogether impersonal." He was astonished, and not wholly pleased, that it became a mass success. When one elderly member of the audience at the Opéra shouted "Rubbish!" at the premiere, he remarked, "That old lady got the message!" The work was popularised by the conductor Arturo Toscanini, and has been recorded several hundred times. Ravel commented to Arthur Honegger, one of Les Six, "I've written only one masterpiece – "Boléro". Unfortunately there's no music in it." At the beginning of the 1930s Ravel was working on two piano concertos.