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Igor Stravinsky

November 24, 2023

"Stravinsky" redirects here. For other uses, see Stravinsky (disambiguation).
In this name that follows Eastern Slavic naming conventions, the patronymic is Fyodorovich and the family name is Stravinsky.

Igor Fyodorovich Stravinsky[a] (17 June [O.S. 5 June] 1882 – 6 April 1971) was a Russian composer and conductor with citizenship in France (from 1934) and the United States (from 1945). He is widely considered one of the most important and influential composers of the 20th century and a pivotal figure in modernist music.

Igor Stravinsky
Stravinsky in the early 1920s
Born(1882-06-17)17 June 1882
Oranienbaum, Saint Petersburg, Russia
Died6 April 1971(1971-04-06) (aged 88)
New York City, US
Occupations
  • Composer
  • conductor
  • pianist
WorksList of compositions
Signature

Stravinsky's father was an established bass opera singer, and Stravinsky grew up taking piano and music theory lessons. While studying law at the University of Saint Petersburg, he met Nikolai Rimsky-Korsakov and studied under him until Rimsky-Korsakov's death in 1908. Stravinsky met the impresario Sergei Diaghilev soon after, who commissioned Stravinsky to write three ballets: The Firebird (1910), Petrushka (1911), and The Rite of Spring (1913), the last of which brought him international fame after the near-riot at the premiere, and changed the way composers understood rhythmic structure.

Stravinsky's compositional career is divided into three periods: his Russian period (1913–1920), his neoclassical period (1920–1951), and his serial period (1954–1968). Stravinsky's Russian period was characterised by influence from Russian styles and folklore. Renard (1916) and Les noces (1923) were based on Russian folk poetry, and works like L'Histoire du soldat blended these folktales with popular musical structures, like the tango, waltz, rag, and chorale. His neoclassical period exhibited themes and techniques from the classical period, like the use of the sonata form in his Octet (1923) and use of Greek mythological themes in works like Apollon musagète (1927), Oedipus rex (1927), and Persephone (1935). In his serial period, Stravinsky turned towards compositional techniques from the Second Viennese School like Arnold Schoenberg's twelve-tone technique. In Memoriam Dylan Thomas (1954) was the first of his compositions to be fully based on the technique, and Canticum Sacrum (1956) was his first to be based on a tone row. Stravinsky's last major work was the Requiem Canticles (1966), which was performed at his funeral.

While some composers and academics of the time disliked the avant-garde nature of Stravinsky's music, particularly The Rite of Spring, later writers recognized his importance to the development of modernist music. Stravinsky's revolutions of rhythm and modernism influenced composers like Aaron Copland, Philip Glass, Béla Bartók, and Pierre Boulez, all of whom "felt impelled to face the challenges set by [The Rite of Spring]," as George Benjamin wrote in The Guardian.[1] In 1998, Time magazine named Stravinsky one of the 100 most influential people of the century. Stravinsky died of pulmonary edema on 6 April 1971 in New York City.

Biography edit

Early life, 1882–1901 edit

 
The Stravinsky house in Ustilug, modern-day Ukraine

Stravinsky was born on 17 June 1882 in the town of Oranienbaum on the southern coast of the Gulf of Finland, 25 mi (40 km) west of Saint Petersburg.[2][3] His father, Fyodor Ignatievich Stravinsky, was an established bass opera singer in the Kiev Opera and the Mariinsky Theatre in Saint Petersburg and his mother, Anna Kirillovna Stravinskaya (née Kholodovskaya; 1854–1939), a native of Kiev, was one of four daughters of a high-ranking official in the Kiev Ministry of Estates. Igor was the third of their four sons; his brothers were Roman, Yury, and Gury.[4] The Stravinsky family was of Polish and Russian heritage,[5] descended "from a long line of Polish grandees, senators and landowners".[6] It is traceable to the 17th and 18th centuries to the bearers of the Sulima and Strawiński coat of arms. The original family surname was Sulima-Strawiński; the name "Stravinsky" originated from the word "Strava", one of the variants of the Streva river in Lithuania.[7][8]

On 10 August 1882, Stravinsky was baptised at Nikolsky Cathedral in Saint Petersburg.[4] Stravinsky's first school was the Second Saint Petersburg Gymnasium, where he stayed until his mid-teens. Then, he moved to Gourevitch Gymnasium, a private school, where he studied history, mathematics, and languages (Latin, Greek, French, German, Slavonic, and his native Russian).[9] Stravinsky expressed his general distaste for schooling and recalled being a lonely pupil: "I never came across anyone who had any real attraction for me."[10]

At around eight years old, he attended a performance of Pyotr Ilyich Tchaikovsky's ballet The Sleeping Beauty at the Mariinsky Theatre, which began a lifelong interest in ballets and Tchaikovsky.[11] Stravinsky took to music at an early age and began regular piano lessons at age nine, followed by tuition in music theory and composition.[12] By age fourteen, Stravinsky mastered Mendelssohn's Piano Concerto No. 1, and at age fifteen finished a piano reduction of a string quartet by Alexander Glazunov, who reportedly considered Stravinsky unmusical and thought little of his skills.[11]

Education and first compositions, 1901–1909 edit

Despite Stravinsky's enthusiasm and ability in music, his parents expected him to study law. In 1901, he enrolled at the University of Saint Petersburg, studying criminal law and legal philosophy, but attendance at lectures was optional and he estimated that he turned up to fewer than fifty classes in his four years of study.[13]

 
Nikolai Rimsky-Korsakov, painted by Valentin Serov in 1898

In 1902, Stravinsky met Vladimir, a fellow student at the University of Saint Petersburg and the youngest son of Nikolai Rimsky-Korsakov. Nikolai at that time was arguably the leading Russian composer, and he was a professor at Saint Petersburg Conservatory. Stravinsky wished to meet him to discuss his musical aspirations. He spent the summer of 1902 with Rimsky-Korsakov and his family in Heidelberg, Germany. Rimsky-Korsakov suggested to Stravinsky that he should not enter the Saint Petersburg Conservatory but continue private lessons in theory.[14]

By the time of his father's death in 1902, Stravinsky was spending more time studying music than law.[13] His decision to pursue music full time was helped when the university was closed for two months in 1905 in the aftermath of Bloody Sunday, which prevented him from taking his final law exams.[15] In April 1906, Stravinsky received a half-course diploma and concentrated on music thereafter.[16] In 1905, he had begun studying with Rimsky-Korsakov twice a week and came to regard him as a second father.[13] These lessons continued until Rimsky-Korsakov's death in 1908.[17] Stravinsky completed his first composition during this time, the Symphony in E-flat, catalogued as Opus 1. In 1908, soon after Rimsky-Korsakov's death, Stravinsky composed Funeral Song, Op. 5, which was performed once and then considered lost until its re-discovery in 2015.[18]

In August 1905, Stravinsky became engaged to his first cousin, Yekaterina Gavrilovna Nosenko. In spite of the Orthodox Church's opposition to marriage between first cousins, the couple married on 23 January 1906.[19][20] They lived in the family's residence at 66 Krukov Canal in Saint Petersburg before they moved into a new home in Ustilug, which Stravinsky designed and built, chosen because Stravinsky had spent many summers there as a child with his father-in-law.[21][19][22] Stravinsky worked on many of his early compositions there, including Funeral Song, the revision of Feu d'artifice, The Nightingale, and some parts of The Rite of Spring.[23][24] It is now a museum with documents, letters, and photographs on display, and an annual Stravinsky Festival takes place in the nearby town of Lutsk.[25][26] The couple had two children, Fyodor and Ludmila, who were born in 1907 and 1908, respectively.[22]

Ballets for Diaghilev and international fame, 1909–1920 edit

 
Sergei Diaghilev in a 1906 painting by Léon Bakst

By 1909, Stravinsky had composed two more pieces, Scherzo fantastique, Op. 3, and Feu d'artifice (Fireworks), Op. 4. In February of that year, both were performed in Saint Petersburg at a concert that marked a turning point in Stravinsky's career. In the audience was Sergei Diaghilev, a Russian impresario and owner of the Ballets Russes who was struck with Stravinsky's compositions. He commissioned Stravinsky to write some orchestrations for the 1909 ballet season, which were finished by April of that year. While planning for the 1910 ballet season, Diaghilev wished to stage a new ballet from fresh talent that was based on the Russian fairytale of the Firebird. After Anatoly Lyadov was given the task of composing the score, he informed Diaghilev that he needed about one year to complete it. Diaghilev then asked the 28-year-old Stravinsky, who had already begun work on the score in anticipation of the commission.[27] At about 50 minutes in length, The Firebird was revised by Stravinsky into concert suites in 1919 and 1945.[28]

The Firebird premiered at the Opera de Paris on 25 June 1910 to widespread critical acclaim and Stravinsky became an overnight sensation.[29][30] As his wife was pregnant, the Stravinskys spent the summer in La Baule in western France. In September, they moved to Clarens, Switzerland, where their second son, Soulima, was born.[31] The family would spend their summers in Russia and winters in Switzerland until 1914.[32] Diaghilev commissioned Stravinsky to score a second ballet for the 1911 Paris season. The result was Petrushka, based on the Russian folk tale featuring the titular character, a puppet, who falls in love with another, a ballerina.[33] Though it failed to capture the immediate reception that The Firebird had following its premiere at Théâtre du Châtelet in June 1911, the production continued Stravinsky's success.[34]

 
2008 production of The Rite of Spring by Pina Bausch
 
Opening measures of the "Sacrificial Dance", showing the odd metres and chords[b]

It was Stravinsky's third ballet for Diaghilev, The Rite of Spring, that caused a sensation among critics, fellow composers, and concertgoers. Based on an idea thought up by Stravinsky while composing Firebird, the production features a series of primitive pagan rituals celebrating the advent of spring.[35] Stravinsky's score contained many novel features for its time, including experiments in tonality, metre, rhythm, stress and dissonance. The radical nature of the music and choreography caused a near-riot at its premiere at the Théâtre des Champs-Élysées on 29 May 1913.[36][37]

Shortly after the premiere, Stravinsky contracted typhoid from eating bad oysters and he was confined to a Paris nursing home. He left in July 1913 and returned to Ustilug.[38] For the rest of the summer he focused on his first opera, The Nightingale, based on a story by Hans Christian Andersen, which Stravinsky had started in 1908.[39] On 15 January 1914, Stravinsky and Nosenko had their fourth child, Marie Milène (or Maria Milena). After her delivery, Nosenko was discovered to have tuberculosis and was committed to a sanatorium in Leysin in the Alps. Stravinsky took up residence nearby, where he completed The Nightingale.[40][41] The work premiered in Paris in May 1914, after the Moscow Free Theatre had commissioned the piece for 10,000 roubles but soon became bankrupt. Diaghilev agreed that the Ballets Russes to stage it.[42][43] The opera had only lukewarm success with the public and the critics, apparently because its delicacy did not meet their expectations following the tumultuous Rite of Spring.[41] However, composers including Maurice Ravel, Béla Bartók, and Reynaldo Hahn found much to admire in the score's craftsmanship, even claiming to detect the influence of Arnold Schoenberg.[44]

 
Yekaterina Stravinsky in 1907

In April 1914, Stravinsky and his family returned to Clarens.[45] Stravinsky was ineligible for military service in the World War due to his history of typhoid.[32] Stravinsky managed a short visit to Ustilug to retrieve personal items just before borders were closed.[46] In June 1915, he and his family moved from Clarens to Morges, a town six miles from Lausanne on the shore of Lake Geneva. The family lived there (at three different addresses), until 1920.[47] In December 1915, Stravinsky made his conducting debut at two concerts in aid of the Red Cross with The Firebird.[48] The war and subsequent Russian Revolution in 1917 made it impossible for Stravinsky to return to his homeland.[49]

Stravinsky began to struggle financially in the late 1910s. When Russia (and its successor, the USSR) did not adhere to the Berne Convention and the aftermath of World War I left countries in ruin, royalties for performances of Stravinsky's pieces stopped coming.[50][51] Stravinsky, seeking financial assistance, approached the Swiss philanthropist Werner Reinhart, who agreed to sponsor him and largely underwrite the first performance of L'Histoire du soldat in September 1918.[52] In gratitude, Stravinsky dedicated the work to Reinhart and gave him the original manuscript.[51] Reinhart supported Stravinsky further when he funded a series of concerts of his chamber music in 1919.[53][54] In gratitude to his benefactor, Stravinsky dedicated his Three Pieces for Solo Clarinet to Reinhart, who was an amateur clarinettist.[55] Stravinsky travelled to Paris to attend the premiere of Pulcinella by the Ballets Russes on 15 May 1920, returning to Switzerland afterwards.[56]

Life in France, 1920–1939 edit

In June 1920, Stravinsky and his family left Switzerland for France, first settling in Carantec for the summer while they sought a permanent home in Paris.[57][58]

 
Stravinsky as drawn by Pablo Picasso in 1920

They soon heard from the couturière Coco Chanel, who invited the family to live in her Paris mansion until they had found their own residence. The Stravinskys accepted and arrived in September.[59] Chanel helped secure a guarantee for a revival production of The Rite of Spring by the Ballets Russes from December 1920 with an anonymous gift to Diaghilev that was claimed to be worth 300,000 francs.[60]

In 1920, Stravinsky signed a contract with the French piano manufacturing company Pleyel. As part of the deal, Stravinsky transcribed most of his compositions for their player piano, the Pleyela. The company helped collect Stravinsky's mechanical royalties for his works and provided him with a monthly income. In 1921, he was given studio space at their Paris headquarters where he worked and entertained friends and acquaintances.[61][62][63] The piano rolls were not recorded, but were instead marked up from a combination of manuscript fragments and handwritten notes by Jacques Larmanjat, musical director of Pleyel's roll department. During the 1920s, Stravinsky recorded Duo-Art piano rolls for the Aeolian Company in London and New York City.[64]

Stravinsky met Vera Sudeikin in Paris in February 1921,[65] while she was married to the painter and stage designer Serge Sudeikin, and they began an affair that led to Vera Sudeikin leaving her husband in the spring of 1922.[66]

 
Vera de Bosset in 1924, painted by Serge Sudeikin

In May 1921, Stravinsky and his family moved to Anglet, a town close to the Spanish border.[67] Their stay was short-lived as by autumn, they had settled to nearby Biarritz and Stravinsky completed his Trois mouvements de Petrouchka, a piano transcription of excerpts from Petrushka for Artur Rubinstein. Diaghilev then requested orchestrations for a revival production of Tchaikovsky's The Sleeping Beauty.[68] From then until his wife's death in 1939, Stravinsky led a double life, dividing his time between his family in Anglet, and Vera Sudeikin in Paris and on tour.[69] Nosenko reportedly bore her husband's situation "with a mixture of magnanimity, bitterness, and compassion".[70]

In June 1923, Stravinsky's ballet Les noces premiered in Paris and performed by the Ballets Russes.[71] In the following month, he started to receive money from an anonymous patron from the US who insisted on remaining anonymous and only identified themselves as "Madame". They promised to send him $6,000 in the course of three years, and sent Stravinsky an initial cheque for $1,000. Stravinsky's later student Robert Craft believed that the patron was the famed conductor Leopold Stokowski, whom Stravinsky had recently met, and theorised that the conductor wanted to win Stravinsky over to visit the US.[71][72]

In September 1924, Stravinsky bought a new home in Nice.[73] Here, the composer re-evaluated his religious beliefs and reconnected with his Christian faith with help from a Russian priest, Father Nicholas.[74] He also thought of his future, and used the experience of conducting the premiere of his Octet at one of Serge Koussevitzky's concerts the year before to build on his career as a conductor. Koussevitzky asked Stravinsky to compose a new piece for one of his upcoming concerts; Stravinsky agreed to a piano concerto. The Concerto for Piano and Wind Instruments was first performed in May 1924 with Stravinsky as the soloist.[75] The piece was a success, and Stravinsky secured himself the exclusive rights to perform the work for the next five years.[76] Stravinsky visited Catalonia six times, and the first time, in 1924, after holding three concerts with the Pau Casals Orchestra at the Gran Teatre del Liceu, he said, "Barcelona will be unforgettable for me. What I liked most was the cathedral and the sardanas".[77] Following a European tour through the latter half of 1924, Stravinsky completed his first US tour in early 1925, which spanned two months.[78] It opened with Stravinsky conducting an all-Stravinsky programme at Carnegie Hall.[79]

In 1926, Stravinsky rejoined the Orthodox Church, having been moved by a ceremony at the Basilica of Saint Anthony of Padua while on a spring concert tour.[80][81] In May 1927, Stravinsky's opera-oratorio Oedipus Rex premiered in Paris. The funding of its production was largely provided by Winnaretta Singer, Princesse Edmond de Polignac, who paid 12,000 francs for a private preview of the piece at her house. Stravinsky gave the money to Diaghilev to help finance the public performances. The premiere at the Théâtre Sarah-Bernhardt received a negative reaction, believed by the painter Boris Grigoriev to be due to its tameness compared to The Firebird, which irked Stravinsky, who had started to become annoyed at the public's fixation on his early ballets.[82] In the summer of 1927, Stravinsky received a commission from Elizabeth Sprague Coolidge, his first from the US. A wealthy patron of music, Coolidge requested a thirty-minute ballet score for a festival to be held at the Library of Congress, for a $1,000 fee.[83] Stravinsky accepted and wrote Apollo, which premiered in 1928.[84]

 
Samuel Dushkin, date unknown

After Diaghilev's death in 1929, Stravinsky continued touring across Europe, playing the premiere of his Capriccio for Piano and Orchestra at the Salle Pleyel on 6 December and performing it in many European towns afterwards.[85] Stravinsky toured for most of 1930 to 1933, also composing his Symphonies of Wind Instruments upon a commission from the Boston Symphony Orchestra and his Violin Concerto in D for Samuel Dushkin.[86] After touring the latter with Dushkin, Stravinsky was inspired to transcribe some of his works for violin and piano, later touring these transcriptions at "recitals" with Dushkin.[87] In June 1934, the Stravinskys acquired French citizenship. Later in that year, they moved to a house on the Rue du Faubourg Saint-Honoré in Paris, where they stayed for five years.[85][88][89] The composer used his citizenship to publish his memoirs in French, entitled Chroniques de ma Vie in 1935. His only composition of that year was the Concerto for Two Solo Pianos, which was written for himself and his son Sviatoslav using a special double piano that Pleyel had built. The pair completed a tour of Europe and South America in 1936.[88] In April 1937, he directed his three-part ballet Jeu de cartes, a commission for Lincoln Kirstein's ballet company in New York City with choreography by George Balanchine.[90]

Upon his return to Europe, Stravinsky left Paris for Annemasse near the Swiss border to be near his family, after his wife and daughters Ludmila and Milena had contracted tuberculosis and were in a sanatorium.[91] Ludmila died in late 1938, followed by his wife of 33 years, in March 1939.[92] Stravinsky himself spent five months in hospital at Sancellemoz,[93] during which time his mother also died.[92] During his later years in Paris, Stravinsky had developed professional relationships with key people in the United States: he was already working on his Symphony in C for the Chicago Symphony Orchestra and he had agreed to accept the Charles Eliot Norton Chair of Poetry of 1939–1940 at Harvard University and while there, deliver six lectures on music as part of the prestigious Charles Eliot Norton Lectures.[94][95][96]

Life in the United States, 1939–1971 edit

Early US years, 1939–1945 edit

Stravinsky arrived in New York City on 30 September 1939 and headed for Cambridge, Massachusetts, to fulfil his engagements at Harvard. During his first two months in the US, Stravinsky stayed at Gerry's Landing, the home of art historian Edward W. Forbes.[97] Vera Sudeikin arrived in January 1940 and the couple married on 9 March in Bedford, Massachusetts. After a period of travel, the two moved into a home in Beverly Hills, California, before they settled in Hollywood from 1941. Stravinsky felt the warmer Californian climate would benefit his health.[98] Stravinsky had adapted to life in France, but moving to America at the age of 58 was a very different prospect. For a while, he maintained a circle of contacts and émigré friends from Russia, but he eventually found that this did not sustain his intellectual and professional life. He was drawn to the growing cultural life of Los Angeles, especially during World War II, when writers, musicians, composers, and conductors settled in the area. The music critic Bernard Holland claimed Stravinsky was especially fond of British writers, who visited him in Beverly Hills, like W. H. Auden, Christopher Isherwood, and later Dylan Thomas: "They shared the composer's taste for hard spirits – especially Aldous Huxley, with whom Stravinsky spoke in French."[99] Stravinsky and Huxley had a tradition of Saturday lunches for west coast avant-garde and luminaries.[100]

In 1940, Stravinsky completed his Symphony in C and conducted the Chicago Symphony Orchestra at its premiere later that year.[101] At this time, Stravinsky began to associate himself with film music; the first major film to use his music was Walt Disney's animated feature Fantasia (1940) which includes parts of The Rite of Spring rearranged by Leopold Stokowski to a segment depicting the history of Earth and the age of dinosaurs.[102] Orson Welles urged Stravinsky to write the score for Jane Eyre (1943), but negotiations broke down; a piece used in one of the film's hunting scenes was used in Stravinsky's orchestral work Ode (1943). An offer to score The Song of Bernadette (1943) also fell through; Stravinsky considered the terms were too much in the producer's favour. Music he had written for the film was later used in his Symphony in Three Movements.[102]

Stravinsky's unconventional dominant seventh chord in his arrangement of the "Star-Spangled Banner" led to an incident with the Boston police on 15 January 1944, and he was warned that the authorities could impose a $100 fine upon any "re-arrangement of the national anthem in whole or in part".[c] The police, as it turned out, were wrong. The law in question forbade using the national anthem "as dance music, as an exit march, or as a part of a medley of any kind",[103] but the incident soon established itself as a myth, in which Stravinsky was supposedly arrested, held in custody for several nights, and photographed for police records.[104]

On 28 December 1945, the Stravinskys became naturalised US citizens.[105] Their sponsor and witness was the actor Edward G. Robinson.[106]

Last major works, 1945–1966 edit

 
Stravinsky on the cover of TIME in 1948

On the same day Stravinsky became an American citizen, he arranged for Boosey & Hawkes to publish rearrangements of several of his compositions and used his newly acquired American citizenship to secure a copyright on the material, thus allowing him to earn money from them.[107] The five-year contract was finalised and signed in January 1947 which included a guarantee of $10,000 per for the first two years, then $12,000 for the remaining three.[108]

In late 1945, Stravinsky received a commission from Europe, his first since Perséphone, in the form of a string piece for the 20th anniversary for Paul Sacher's Basle Chamber Orchestra. The Concerto in D premiered in 1947.[106][109] In January 1946, Stravinsky conducted the premiere of his Symphony in Three Movements at Carnegie Hall in New York City. It marked his first premiere in the US.[110] In 1947, Stravinsky was inspired to write his English-language opera The Rake's Progress by a visit to a Chicago exhibition of the same-titled series of paintings by the eighteenth-century British artist William Hogarth, which tells the story of a fashionable wastrel descending into ruin. W. H. Auden and writer Chester Kallman worked on the libretto. The opera premiered in 1951 and marks the final work of Stravinsky's neoclassical period.[111] While composing The Rake's Progress, Stravinsky met Robert Craft, whom Stravinsky invited to his home in Hollywood as a personal assistant.[112] Craft soon became Stravinsky's "closest friend, his confident, amanuensis, spokesman and fellow conductor," as Jay Harrison wrote in the New York Herald Tribune.[113] Craft encouraged the composer to explore serial music and the composers of the Second Viennese School, beginning Stravinsky's third and final distinct musical period, which lasted until his death.[114][115][116]

In 1953, Stravinsky agreed to compose a new opera with a libretto by Dylan Thomas, which detailed the recreation of the world after one man and one woman remained on Earth after a nuclear disaster. Development on the project came to a sudden end following Thomas's death in November of that year. Stravinsky completed In Memoriam Dylan Thomas, a piece for tenor, string quartet, and four trombones, in 1954.[117] Stravinsky composed his cantata Canticum Sacrum for the International Festival of Contemporary Music in Venice, to which he dedicated the work, and it premiered on 13 September 1956.[118] The work inspired the Norddeutscher Rundfunk to commission the musical setting Threni in 1957, which was premiered by their orchestra and chorus on 23 September 1958.[119][120] In 1959, Craft interviewed Stravinsky for an article titled Answers to 35 Questions, in which Stravinsky corrected a number of myths surrounding him and discussed his relationships with many of his collaborators. The article was later expanded into a book, and over the next four years, three more books of this fashion were published due to Craft's initiative.[121]

 
Stravinsky in 1962

In 1961, the Stravinskys and Craft travelled to London, Zürich and Cairo on their way to Australia where Stravinsky and Craft conducted all-Stravinsky concerts in Sydney and Melbourne. They returned to California via New Zealand, Tahiti, and Mexico.[122][123] In January 1962, during his tour's stop in Washington, D.C., Stravinsky attended a dinner at the White House with President John F. Kennedy in honour of his 80th birthday, where he received a special medal for "the recognition his music has achieved throughout the world".[124][125] In September 1962, Stravinsky returned to Russia for the first time since 1914, accepting an invitation from the Union of Soviet Composers to conduct six performances in Moscow and Leningrad. During the three-week visit he met with Soviet Premier Nikita Khrushchev and several leading Soviet composers, including Dmitri Shostakovich and Aram Khachaturian.[126][127] Stravinsky did not return to his Hollywood home until December 1962 in what was almost eight months of continual travelling.[128] Following the assassination of Kennedy in 1963, Stravinsky completed his Elegy for J.F.K. in the following year. The two-minute work took the composer two days to write.[129]

By early 1964, the long periods of travel started to affect Stravinsky's health. His case of polycythemia worsened and his friends noticed that his movements and speech had slowed.[129] In 1965, Stravinsky agreed to have David Oppenheim produce a documentary film about himself for the CBS network. It involved a film crew following the composer at home and on tour that year, and he was paid $10,000 for the production.[130] The documentary includes Stravinsky's visit to Les Tilleuls, the house in Clarens where he wrote the majority of The Rite of Spring. The crew asked Soviet authorities for permission to film Stravinsky returning to his hometown of Ustilug, but the request was denied.[131] In 1966, Stravinsky completed his last major work, the Requiem Canticles.[132] His final attempt at composition, Two Sketches for a Sonata, existed in a manuscript of short piano fragments. The sketches were published by Boosey & Hawkes in 2021.[133]

Final years and death, 1967–1971 edit

 
Massey Hall in Toronto, Canada, photographed in 2017

In March 1967, Stravinsky conducted L'Histoire du soldat with the Seattle Opera. By this time, Stravinsky's typical performance fee had grown to $10,000. However, after Stravinsky's conducting became "erratic" and "vague" as one reviewer described it, Craft cancelled all concerts that required Stravinsky to fly.[134] An exception to this was a concert at Massey Hall in Toronto in May 1967, where he conducted the relatively physically undemanding Pulcinella suite with the Toronto Symphony Orchestra. Unbeknownst to him, it was his final performance as conductor.[135][136] While backstage at the venue, Stravinsky informed Craft that he believed he had suffered a stroke.[134] In August 1967, Stravinsky was hospitalised in Hollywood for bleeding stomach ulcers and thrombosis which required a blood transfusion.[137]

By 1968, Stravinsky had recovered enough to resume touring across the US with him in the audience while Craft took to the conductor's post for the majority of the concerts. In May 1968, Stravinsky completed the piano arrangement of two songs by Hugo Wolf for a small orchestra.[138] In October, the Stravinskys and Craft travelled to Zürich to sort out business matters with Stravinsky's family.[139] The three considered relocating to Switzerland as they had become increasingly less fond of Hollywood, but they decided against it and returned to the US.[140]

In October 1969, after close to three decades in California and Stravinsky being denied to travel overseas by his doctors due to ill health, the Stravinskys secured a two-year lease for a luxury three bedroom apartment in Essex House in New York City. Craft moved in with them, effectively putting his career on hold to care for the ailing composer.[141] Among Stravinsky's final projects was orchestrating two preludes from Bach's The Well-Tempered Clavier, but it was never completed.[142] In June 1970, he travelled to Évian-les-Bains by Lake Geneva where he reunited with his eldest son Fyodor and niece Xenia.[143]

 
Stravinsky's grave in Venice

On 18 March 1971, Stravinsky was taken to Lenox Hill Hospital with pulmonary edema where he stayed for ten days. On 29 March, he moved into a newly furnished apartment at 920 Fifth Avenue, his first city apartment since living in Paris in 1939. After a period of well-being, the edema returned on 4 April and Vera Stravinsky insisted that medical equipment should be installed in the apartment.[144] Stravinsky soon stopped eating and drinking and died at 5:20 a.m. on 6 April at the age of 88. The cause on his death certificate is heart failure. A funeral service was held three days later at Frank E. Campbell Funeral Chapel.[142][145] In accordance with his wishes, he was buried in the Russian corner of the cemetery island of San Michele in Venice, several yards from the tomb of Sergei Diaghilev,[146][147] having been brought there by gondola after a service at Santi Giovanni e Paolo led by Cherubin Malissianos, Archimandrite of the Greek Orthodox Church.[146][148] During the service, his Requiem Canticles and organ music by Andrea Gabrieli were performed.[149]

Music edit

Further information: List of compositions by Igor Stravinsky

Most of Stravinsky's student works were composed for assignments from his teacher Rimsky-Korsakov, being mainly influenced by Rimsky-Korsakov and other Russian composers.[150] Stravinsky's first three ballets, The Firebird, Petrushka, and The Rite of Spring, were the beginning of his international fame and deviation from the conservative Saint Petersburg life.[150][151] Stravinsky's music is often divided into three periods of composition: his Russian period (1913–1920), where he was greatly influenced by Russian folklore and style;[152] his neoclassical period (1920–1951), where Stravinsky turned towards techniques and themes from the Classical period;[153][154] and his serial period (1954–1968), where Stravinsky used serial composition techniques pioneered by composers of the Second Viennese School.[155][116]

Student works, 1898–1907 edit

Stravinsky's time before meeting Diaghilev was spent learning from Rimsky-Korsakov and his collaborators.[150] Only three works survive from before Stravinsky met Rimsky-Korsakov in August 1902: "Tarantella" (1898), Scherzo in G minor (1902), and The Storm Cloud, the first two being works for piano and the last for voice and piano.[156][157] Stravinsky's first assignment from Rimsky-Korsakov was the four-movement Piano Sonata in F♯ minor, which was also his first work to be performed in public.[158][159] Rimsky-Korsakov often gave Stravinsky the task of orchestrating various works to allow him to analyze the works' form and structure.[160] A number of Stravinsky's student compositions were performed at Rimsky-Korsakov's gatherings at his home; these include a set of bagatelles, a "chanson comique", and a cantata, showing the use of classical musical techniques that would later define Stravinsky's neoclassical period.[160] Stephen Walsh described this time in Stravinsky's musical career as "aesthetically cramped" due to the "cynical conservatism" of Rimsky-Korsakov and his music.[161] Rimsky-Korsakov thought the Symphony in E-flat (1907) was swayed too much by Glazunov's style, and disliked the modernist influence on Faun and Shepherdess (1907).[162]

First three ballets, 1910–1913 edit

 
Sketch of costumes for The Firebird by Léon Bakst, 1910

After the premiere of Scherzo fantastique and Feu d'artifice attracted the attention of Diaghilev, he commissioned Stravinsky to orchestrate Chopin's Nocturne in A-flat major and Grande valse brillante in E-flat major for the new ballet Les Sylphides, and commissioned Stravinsky's first ballet, The Firebird, a few months after.[163]

The Firebird used a harmonic structure that Stravinsky called "leit-harmony", a portmanteau of leitmotif and harmony used by Rimsky-Korsakov in his opera The Golden Cockerel.[164] The "leit-harmony" was used to juxtapose the protagonist, the Firebird, and the antagonist, Koschei the Deathless, the Firebird being associated with whole-tone phrases and Koschei being associated with octatonic music.[165] Stravinsky later wrote how he composed The Firebird in a state of "revolt against Rimsky", and that he "tried to surpass him with ponticello, col legno, flautando, glissando, and fluttertongue effects".[166]

Stravinsky's second ballet for the Ballets Russes, Petrushka, is where Stravinsky defined his musical character.[167] Originally meant to be a konzertstück for piano and orchestra, Diaghilev convinced Stravinsky that he should instead compose it as a ballet instead for the 1911 season.[33] The Russian influence can be seen in the use of a number of Russian folk tunes in addition to two waltzes by Viennese composer Joseph Lanner and a French music hall tune (La Jambe en bois or The Wooden Leg).[d] Stravinsky also used a folk tune from Rimsky-Korsakov's opera The Snow Maiden, showing his continued influence on the music of Stravinsky.[168]

 
The chord opening "Augurs of Spring"

Stravinsky's third ballet, The Rite of Spring, caused a sensation at the premiere due to the avant-garde nature of the work.[35] Stravinsky had begun to experiment with polytonality in The Firebird and Petrushka, but for The Rite of Spring, he "pushed [it] to its logical conclusion," as Eric Walter White describes it.[169] In addition, the complex metre in the music consists of phrases combining conflicting time signatures and odd accents, such as the "jagged slashes" in the "Sacrificial Dance".[170][169] Both polytonality and unusual rhythms can be heard in the chords that open the second episode, "Augurs of Spring", consisting of an E♭ dominant 7 superimposed on an F♭ major triad written in an uneven rhythm, Stravinsky shifting the accents seemingly at random to create asymmetry.[171][172] The Rite of Spring is one of the most famous and influential works of the 20th century; the musicologist Donald Jay Grout described it as having "the effect of an explosion that so scattered the elements of musical language that they could never again be put together as before."[173]

Russian period, 1913–1920 edit

The musicologist Jeremy Noble says that Stravinsky's "intensive researches into Russian folk material" took place during his time in Switzerland from 1914 to 1920.[152] The composer Béla Bartók considered Stravinsky's Russian period to have begun in 1913 with The Rite of Spring due to the works' use of Russian folk songs, themes, and techniques.[174] The use of duple or triple metres was especially prevalent in Stravinsky's Russian period music; while the pulse may have remained constant, the time signature would often change to constantly shift the accents.[175]

Stravinsky did not use as many folk melodies as he had in his first three ballets, but his works were with Russian style.[176] Stravinsky used folk poetry often; his next opera, Les noces, was based on texts from a collection of Russian folk poetry by Pyotr Kireevsky,[32][177] and his opera-ballet Renard was based on a folktale collected by Alexander Afanasyev.[178][179] Many of Stravinsky's Russian period works featured animal characters and themes, likely due to exposure to nursery rhymes he read with his four children.[180] Stravinsky also used unique theatrical styles. Les noces blended the ballet and cantata, a unique production described on the score as "Russian Choreographic Scenes".[181] In Renard, the voices were placed in the orchestra, as they were meant to accompany the action on stage.[180] L'Histoire du soldat was composed in 1918 with the Swiss novelist Charles F. Ramuz as a "quirky musical-theatre work" for dancers, a narrator, and a septet.[51] The work mixed the Russian folktales in the narrative with common musical structures of the time, like the tango, waltz, rag, and chorale.[182] According to Walsh, Stravinsky's music was always influenced by his Russian roots, and despite their decreased use in his later output, he maintained continuous musical innovation.[183]

Neoclassical period, 1920–1951 edit

In Naples, Italy, Stravinsky saw a commedia dell'arte featuring the "great drunken lout" of a character Pulcinella, who would later become the subject of his ballet Pulcinella.[184] Officially begun in 1919,[185] Pulcinella was commissioned by Diaghilev after he proposed the idea of a ballet based on music by Giovanni Battista Pergolesi, Domenico Gallo, and others whose music was published under Pergolesi's name.[186][187] Composing a work based on harmonic and rhythmic systems by a late-Baroque era composer was the beginning of Stravinsky's turn towards 18th-century music that would "serve him for some 30 productive years."[186]

Although White and Jeremy Noble consider Stravinsky's neoclassical period to have begun in 1920 with his Symphonies for Wind Instruments,[150][153] Bartók argues that the period "really starts with his Octet for Wind Instruments, followed by his Concerto for Piano ..."[188] During this period, Stravinsky used techniques and themes from the Classical period of music.[188]

 
Dancers in the Ballets Russes' Apollon musagète

Greek mythology was a common theme in Stravinsky's neoclassical works. His first Greek mythology-based work was the ballet Apollon musagète (1927), choosing the leader of the Muses and god of art Apollo as the subject.[84] Stravinsky would use themes from Greek mythology in future works like Oedipus rex (1927), Persephone (1935), and Orpheus (1947).[189] Taruskin writes that Oedipus rex was "the product of Stravinsky's neo-classical manner at its most extreme," and that musical techniques "thought outdated" were juxtaposed against "a deliberately offputting hauteur."[190] In addition, Stravinsky turned towards older musical structures and techniques during this period and modernised them.[191][192] His Octet (1923) uses the sonata form, modernising it by disregarding the standard ordering of themes and traditional tonal relationships for different sections.[191] The idea of musical counterpoint, commonly used in the Baroque era, was used throughout the choral Symphony of Psalms.[193]

Stravinsky's neoclassical period ended in 1951 with the opera The Rake's Progress.[194][195] Taruskin described the opera as "the hub and essence of 'neo-classicism'." He points out how the opera contains numerous references to Greek mythology and other operas like Don Giovanni and Carmen, but still "embody[s] the distinctive structure of a fairy tale." Stravinsky was inspired by the operas of Mozart in composing the music, but other scholars also point out influence from Handel, Gluck, Beethoven, Schubert, Weber, Rossini, Donizetti, and Verdi.[196][197] The Rake's Progress has become an important work in opera repertoire, being "[more performed] than any other opera written after the death of Puccini."[198]

Serial period, 1954–1968 edit

In the 1950s, Stravinsky began using serial compositional techniques such as the twelve-tone technique originally devised by Arnold Schoenberg.[199] Noble writes that this time was "the most profound change in Stravinsky's musical vocabulary," partly due to Stravinsky's newfound interest in the music of the Second Viennese School after meeting Robert Craft.[155]

 
Five-tone row from In Memoriam Dylan Thomas (1954)

Stravinsky first experimented with non-twelve-tone serial techniques in vocal and chamber works such as the Cantata (1952), the Septet (1953) and Three Songs from Shakespeare (1953). The first of his compositions fully based on such techniques was In Memoriam Dylan Thomas (1954). Agon (1954–57) was the first of his works to include a twelve-tone series and the second movement from Canticum Sacrum (1956) was the first piece to contain a movement entirely based on a tone row.[116] Agon's unique tonal structure was significant to Stravinsky's serial music; the work begins diatonic, moves towards full 12-tone serialism in the middle, and returns to diatonicism in the end.[200] Stravinsky returned to sacred themes in works such as Canticum Sacrum, Threni (1958), A Sermon, a Narrative and a Prayer (1961), and The Flood (1962). Stravinsky used a number of concepts from earlier works in his serial pieces; for example, the voice of God being two bass voices in homophony seen in The Flood was previously used in Les noces.[200] Stravinsky's final work, the Requiem Canticles (1966), made use of a complex four-part array of tone rows throughout, showing the evolution of Stravinsky's serialist music.[201][200] Noble describes the Requiem Canticles as "a distillation both of the liturgical text and of his own musical means of setting it, evolved and refined through a career of more than 60 years."[202]

 
Four-part array of tone rows from Requiem Canticles (1966)

Influence from other composers can be seen throughout this period. Stravinsky was heavily influenced by Schoenberg, not only in his use of the twelve-tone technique, but also in the distinctly "Schoenbergian" instrumentation of the Septet and the "Stravinskian interpretation of Schoenberg's Klangfarbenmelodie" found in Stravinsky's Variations.[155][200] Stravinsky also used a number of themes found in works by Benjamin Britten,[200] commenting in Themes and Conclusions about the "many titles and subjects [I have shared] with Mr. Britten already."[203] In addition, Stravinsky was very familiar with the works of Anton Webern, being one of the figures who inspired Stravinsky to consider serialism a possible form of composition.[204]

Influences edit

Literary edit

 
Portrait of Igor Stravinsky by Jacques-Émile Blanche (1915)

Stravinsky displayed a taste in literature that was wide and reflected his constant desire for new discoveries.[205] The texts and literary sources for his work began with interest in Russian folklore.[206][152] After moving to Switzerland in 1914, Stravinsky began gathering folk stories from numerous collections, which were later used in works like Les noces, Renard, Pribaoutki, and various songs.[32] Many of Stravinsky's works, including The Firebird, Renard, and L'Histoire du soldat were inspired by Alexander Afanasyev's famous collection Russian Folk Tales.[207][178][208] Collections of folk music influenced Stravinsky's music; numerous melodies from The Rite of Spring were found in an anthology of Lithuanian folk songs.[209]

An interest in the Latin liturgy began shortly after Stravinsky rejoined the church in 1926, beginning with the composition of his first religious work in 1926 Pater Noster, written in Old Church Slavonic.[80][81] He later used three psalms from the Latin Vulgate in his Symphony of Psalms for orchestra and mixed choir.[210][211] Many works in the composer's neoclassical and serial periods used (or were based on) liturgical texts.[81][212]

Stravinsky worked with many authors throughout his career. He first worked with the Swiss novelist Charles F. Ramuz on L'Histoire du soldat in 1918, who wrote the text and helped form the idea.[51] In 1933, Ida Rubinstein commissioned Stravinsky to set music to a poem by André Gide, later becoming the melodrama Persephone.[213] The two collaborated well at first, but disagreements over the text caused Gide to leave the project.[214] The story of The Rake's Progress was first conceived by Stravinsky and W. H. Auden, the latter of whom wrote the libretto with Chester Kallman.[215][216] Stravinsky befriended many other authors as well, including T.S. Eliot,[205] Aldous Huxley, Christopher Isherwood, and Dylan Thomas,[99] the last of whom Stravinsky began working with on an opera in 1953 but stopped due to Thomas's death.[117]

Artistic edit

Stravinsky worked with some of the most famous artists of his time, many of whom he met after the premiere of The Firebird.[151][217] Diaghilev was one of the composer's most prominent artistic influences, having introduced him to composing for the stage and bringing him international fame with his first three ballets.[217][218] Through the Ballets Russes and Diaghilev, Stravinsky worked with figures like Vaslav Nijinsky, Léonide Massine,[151] Alexandre Benois,[151] Michel Fokine, and Léon Bakst.[219] The composer's interest in art propelled him to develop a strong relationship with Picasso, whom he met in 1917.[220] From 1917 to 1920, the two engaged in an artistic dialogue in which they exchanged small-scale works of art to each other as a sign of intimacy, which included the famous portrait of Stravinsky by Picasso,[221] and a short sketch of clarinet music by Stravinsky.[222] This exchange was essential to establish how the artists would approach their collaborative space in Ragtime and Pulcinella.[223][224]

Legacy edit

 
Portrait of Stravinsky (1918) by Robert Delaunay, in the Garman Ryan Collection

Stravinsky is widely regarded as one of the greatest composers of the 20th century.[154][217][225][226][227] In 1998, Time magazine named him one of the 100 most influential people of the century.[228] Stravinsky was not only recognised for his composing; he also achieved fame as a pianist and as a conductor; Philip Glass wrote in 1998, "He conducted with an energy and vividness that completely conveyed his every musical intention. Here was Stravinsky, a musical revolutionary whose own evolution never stopped. There is not a composer who lived during his time or is alive today who was not touched, and sometimes transformed, by his work."[225][228]

 
Stravinsky with Mstislav Rostropovich in Moscow in September 1962

Stravinsky had a number of dissenters throughout his career, particularly regarding his later works.[229][230] In 1935, the American composer Marc Blitzstein compared Stravinsky to Jacopo Peri and C. P. E. Bach, conceding that, "There is no denying the greatness of Stravinsky. It is just that he is not great enough."[231] In 1934, the composer Constant Lambert described pieces such as L'Histoire du soldat as containing "essentially cold-blooded abstraction ... melodic fragments in Histoire du Soldat are completely meaningless themselves. They are merely successions of notes that can conveniently be divided into groups of three, five, and seven and set against other mathematical groups."[232][233] On the contrary, Erik Satie argued that measuring the "greatness" of an artist by comparing him to other artists is illusory, and that every piece of music should be judged on its own merits and not by comparing it to the standards of other composers.[234]

Stravinsky's reputation in Russia and the USSR varied. Performances of his music were banned from around 1933 until 1962, the year Khrushchev invited him to the USSR for an official visit. In 1972, an official proclamation by the Soviet Minister of Culture, Yekaterina Furtseva, ordered Soviet musicians to "study and admire" Stravinsky's music, and she made hostility toward it a potential offence.[235][236]

White writes that the attention given to the composer's first three ballets undermined the importance of his later works, and that works like Les noces, the Symphony of Psalms, and Persephone "represent the high-water mark of his invention and form one of the most precious contributions to the musical treasury of the twentieth century."[237] The conductor Michael Tilson Thomas said in a 2013 interview for NPR, "[Stravinsky] had insatiable curiosity about words, about geography, about just things that he encountered in his day-to-day life ... he was never going to stay still, he was always going to move forward."[238] Georg Predota's profile of Stravinsky for Interlude says regarding Stravinsky's vast styles, "he might well have represented the face of an entire century as his works touch almost every important trend and tendency the century had on offer."[226]

 
Stravinsky with Wilhelm Furtwängler, German conductor and composer.

Stravinsky was noted for his distinctive use of rhythm, especially in The Rite of Spring.[239] According to Glass, "the idea of pushing the rhythms across the bar lines ... led the way ... [for] the rhythmic structure of music [to become] much more fluid and in a certain way spontaneous."[240] Glass also noted Stravinsky's "primitive, offbeat rhythmic drive".[225] Andrew J. Browne wrote, "Stravinsky is perhaps the only composer who has raised rhythm in itself to the dignity of art."[241] Over the course of his career, Stravinsky called for a wide variety of orchestral, instrumental, and vocal forces, ranging from single instruments in such works as Three Pieces for Solo Clarinet (1918) or Elegy for Solo Viola (1944) to the enormous orchestra of The Rite of Spring (1913), which Copland characterised as "the foremost orchestral achievement of the 20th century".[242]

Stravinsky influenced many composers and musicians.[243] George Benjamin wrote in The Guardian that, "Since 1913 generation after generation of composers – from Varèse to Boulez, Bartók to Ligeti — has felt impelled to face the challenges set by [The Rite of Spring],"[1] while Walsh wrote, "For younger composers of almost every persuasion, his work has continued to offer inspiration and a source of method."[244] Stravinsky's rhythm and vitality greatly influenced Aaron Copland and Pierre Boulez, the latter who Stravinsky had worked with on Threni.[245][246][243] Stravinsky's combination of folklore and modernism influenced the works and style of Béla Bartók as well.[247] Stravinsky also influenced composers like Elliott Carter, Harrison Birtwistle, and John Tavener.[243] Included among his students are Robert Craft, Robert Strassburg, and Warren Zevon.[248][249]

Honours edit

Stravinsky received the Royal Philharmonic Society's gold medal in 1954,[250] the Léonie Sonning Music Prize in 1959,[251] and the Wihuri Sibelius Prize in 1963.[252] On 25 July 1966, he was awarded the Portuguese Military Order of Saint James of the Sword.[253] In 1977, the "Sacrificial Dance" from The Rite of Spring was included among many tracks around the world on the Voyager Golden Record.[254] In 1982, the composer was featured on a 2¢ postage stamp by the United States Postal Service as part of its Great Americans stamp series.[255] He received a star on the Hollywood Walk of Fame in 1960[256] and was posthumously inducted into the National Museum of Dance and Hall of Fame in 2004.[257]

A number of major works were dedicated to Stravinsky, including En blanc et noir by Claude Debussy, Trois poèmes de Mallarmé by Maurice Ravel,[258] and the revised version of La tragédie de Salomé by Florent Schmitt.[259] The composer received five Grammy Awards and eleven total nominations.[260] Three records of his works were inducted into the Grammy Hall of Fame in 1993, 1999, and 2000, and he was posthumously awarded the Grammy Lifetime Achievement Award in 1987.[261][262][263]

Recordings edit

Further information: Igor Stravinsky discography

Stravinsky found recordings a practical and useful tool in preserving his thoughts on the interpretation of his music. As a conductor of his own music, he recorded primarily for Columbia Records, beginning in 1928 with a performance of the original suite from The Firebird and concluding in 1967 with the 1945 suite from the same ballet.[263] In the late 1940s he made several recordings for RCA Victor at the Republic Studios in Los Angeles.[264] Although most of his recordings were made with studio musicians, he also worked with the Chicago Symphony Orchestra, the Cleveland Orchestra, the CBC Symphony Orchestra, the New York Philharmonic, the Royal Philharmonic Orchestra, and the Bavarian Radio Symphony Orchestra.[264]

During his lifetime, Stravinsky appeared on several telecasts, including the 1962 world premiere of The Flood on CBS Television. Although he made an appearance, the actual performance was conducted by Craft.[265] Numerous films and videos of the composer have been preserved, including the 1966 award-winning National Film Board of Canada documentary Stravinsky, directed by Roman Kroitor and Wolf Koenig, in which he conducts the CBC Symphony Orchestra in a recording of the Symphony of Psalms.[266]

Writings edit

Stravinsky published a number of books throughout his career, almost always with the aid of a (sometimes uncredited) collaborator. In his 1936 autobiography, Chronicle of My Life, which was written with the help of Walter Nouvel, Stravinsky included his well-known statement that "music is, by its very nature, essentially powerless to express anything at all".[267] With Alexis Roland-Manuel and Pierre Souvtchinsky, he wrote his 1939–40 Harvard University Charles Eliot Norton Lectures, which were delivered in French and first collected under the title Poétique musicale in 1942 and then translated in 1947 as Poetics of Music.[e] In 1959, several interviews between the composer and Craft were published as Conversations with Igor Stravinsky,[268] which was followed by a further five volumes over the following decade. A collection of Stravinsky's writings and interviews appears under the title Confidences sur la musique.[269]

Books and articles are selected from Appendix E of Eric Walter White's Stravinsky: The Composer and His Works and Stephen Walsh's profile of Stravinsky on Oxford Music Online.[270][271]

Books edit

  • Stravinsky, Igor (1936). Chronicle of My Life. London: Gollancz. OCLC 1354065. Originally published in French as Chroniques de ma vie, 2 vols. (Paris: Denoël et Steele, 1935), subsequently translated (anonymously) as Chronicle of My Life. This edition reprinted as Igor Stravinsky – An Autobiography, with a preface by Eric Walter White (London: Calder and Boyars, 1975) ISBN 978-0-7145-1063-7, 0-7145-1082-3. Reprinted again as An Autobiography (1903–1934) (London: Boyars, 1990) ISBN 978-0-7145-1063-7, 0-7145-1082-3. Also published as Igor Stravinsky – An Autobiography (New York: M. & J. Steuer, 1958), and An Autobiography. (New York: W. W. Norton, 1962). ISBN 978-0-393-00161-7. OCLC 311867794.
  • — (1947). Poetics of Music in the Form of Six Lessons: The Charles Eliot Norton Lectures for 1939–1940. Cambridge, Massachusetts: Harvard University Press. ISBN 9780674678569. OCLC 155726113.
  • —; Craft, Robert (1959). Conversations with Igor Stravinsky. Garden City, New York: Doubleday. OCLC 896750. Reprinted Berkeley: University of California Press, 1980. ISBN 978-0-520-04040-3.
  • —; — (1960). Memories and Commentaries. Garden City, New York: Doubleday. ISBN 9780520044029. Reprinted 1981, Berkeley and Los Angeles: University of California Press. ISBN 978-0-520-04402-9 The 2002 reprinted "One-Volume Edition" varies from the 1960 original, London: Faber and Faber. ISBN 978-0-571-21242-2.
  • —; — (1962). Expositions and Developments. London: Faber and Faber. ISBN 9780520044036. Reprinted, Berkeley and Los Angeles: University of California Press, 1981.
  • —; — (1963). Dialogues and a Diary. Garden City, New York: Doubleday. OCLC 896750. The 1968 reprinted Dialogues varies from the 1963 original, London: Faber and Faber. ISBN 0-571-10043-0.
  • —; — (1966). Themes and Episodes. New York: A. A. Knopf.
  • —; — (1969). Retrospectives and Conclusions. New York: A. A. Knopf.
  • —; — (1972). Themes and Conclusions. London: Faber and Faber. A one-volume edition of Themes and Episodes (1966) and Retrospectives and Conclusions (1969) as revised by Igor Stravinsky in 1971. ISBN 978-0-571-08308-4.

Articles edit

  • Stravinsky, Igor (29 May 1913). Canudo, Ricciotto (ed.). "Ce que j'ai voulu exprimer dans "Le sacre du printemps"" [What I Wanted to Express in The Rite of Spring]. Montjoie! (in French). No. 2. At DICTECO
  • —— (15 May 1921). "Les Espagnols aux Ballets Russes" [The Spaniards at the Ballets Russes]. Comœdia (in French). At DICTECO
  • —— (18 October 1921). "The Genius of Tchaikovsky". The Times (Open Letter to Letter to Diaghilev). London.
  • —— (18 May 1922). "Une lettre de Stravinsky sur Tchaikovsky" [A Letter from Stravinsky on Tchaikovsky]. Le Figaro (in French). At DICTECO
  • —— (1924). "Some Ideas about my Octuor". The Arts. Brooklyn. At SCRIBD.
  • —— (1927). "Avertissement... a Warning". The Dominant. London.
  • —— (29 April 1934). "Igor Strawinsky nous parle de 'Perséphone'" [Igor Stravinsky tells us about Persephone]. Excelsior [fr] (in French). At DICTECO
  • —— (15 December 1935). "Quelques confidences sur la musique" [Some secrets about music]. Conferencia (in French). Paris. At DICTECO
  • ——; Nouvel, Walter (1935–1936). Chroniques de ma vie (in French). Paris: Denoël & Steele. OCLC 250259515. Translated in English, 1936, as An Autobiography.
  • —— (28 January 1936). "Ma candidature à l'Institut" [My application to the Institute]. Jour (in French). Paris.
  • —— (1940). Pushkin: Poetry and Music. New York. OCLC 1175989080.{{cite book}}: CS1 maint: location missing publisher (link)
  • ——; Nouvel, Walter (1953). "The Diaghilev I Knew". The Atlantic Monthly. pp. 33–36.

References edit

Notes edit

  1. ^ Pronunciation: /strəˈvɪnski/; Russian: Игорь Фёдорович Стравинский, IPA: [ˈiɡərʲ ˈfʲɵdərəvʲɪtɕ strɐˈvʲinskʲɪj] ⓘ
  2. ^ See "Sacrificial Dance" from The Rite of Spring (audio, animated score) on YouTube, Boston Symphony Orchestra, Michael Tilson Thomas conducting (1972)
  3. ^ According to Michael Steinberg's liner notes to Stravinsky in America, RCA 09026-68865-2, p. 7, the police "removed the parts from Symphony Hall", quoted in Thom 2007, p. 50.
  4. ^ See: "Table I: Folk and Popular Tunes in Petrushka" Taruskin (1996, pp. I: 696–697).
  5. ^ The names of uncredited collaborators are given in Walsh 2001.

Citations edit

  1. ^ a b Benjamin 2013.
  2. ^ Greene 1985, p. 1101.
  3. ^ White 1979, pp. 19–21.
  4. ^ a b Walsh 2002.
  5. ^ Vlad 1967, p. 3.
  6. ^ Walsh 2001, 1. Background and early years, 1882–1905.
  7. ^ Pisalnik 2012.
  8. ^ Stravinsky & Craft 1960, pp. 6, 17.
  9. ^ White 1979, p. 21.
  10. ^ Stravinsky 1962, p. 8.
  11. ^ a b Dubal 2003, p. 564.
  12. ^ White 1979, pp. 23–24.
  13. ^ a b c Dubal 2003, p. 565.
  14. ^ White 1979, p. 25.
  15. ^ Walsh 2002, p. 83.
  16. ^ Walsh 2001, 2. Towards The Firebird, 1902–09.
  17. ^ Stravinsky 1962, p. 24.
  18. ^ Walsh 2015.
  19. ^ a b White 1979, p. 22.
  20. ^ White 1979, p. 28.
  21. ^ Anonymous n.d.c.
  22. ^ a b White 1979, p. 29.
  23. ^ Anonymous n.d.d.
  24. ^ Sadie & Sadie 2005, p. 359.
  25. ^ Sadie & Sadie 2005, p. 360.
  26. ^ Anonymous n.d.e.
  27. ^ White 1979, pp. 32–33.
  28. ^ White 1979, pp. 189–190.
  29. ^ Walsh 2002, pp. 140–143.
  30. ^ Whiting 2005, p. 30.
  31. ^ Walsh 2002, p. 145.
  32. ^ a b c d White 1979, p. 51.
  33. ^ a b White 1979, pp. 35–36.
  34. ^ White 1979, p. 37.
  35. ^ a b Stravinsky 1962, p. 31.
  36. ^ Service 2013.
  37. ^ Hewett 2013.
  38. ^ V. Stravinsky & Craft 1978, pp. 100, 102.
  39. ^ V. Stravinsky & Craft 1978, pp. 111–114.
  40. ^ Walsh 2002, p. 224.
  41. ^ a b V. Stravinsky & Craft 1978, p. 119.
  42. ^ Walsh 2002, p. 221.
  43. ^ V. Stravinsky & Craft 1978, p. 113.
  44. ^ V. Stravinsky & Craft 1978, p. 120.
  45. ^ Walsh 2002, p. 233.
  46. ^ Oliver 1995, p. 74.
  47. ^ V. Stravinsky & Craft 1978, pp. 136–137.
  48. ^ White 1979, p. 56.
  49. ^ V. Stravinsky & Craft 1978, p. 469.
  50. ^ White 1979, p. 65.
  51. ^ a b c d Keller 2011, p. 456.
  52. ^ White 1979, pp. 66–67.
  53. ^ Stravinsky 1962, p. 83.
  54. ^ White 1979, p. 70.
  55. ^ Anonymous n.d.a.
  56. ^ Walsh 2002, p. 313.
  57. ^ Walsh 2002, p. 315.
  58. ^ Stravinsky 1962, pp. 84–86.
  59. ^ Walsh 2002, p. 318.
  60. ^ Walsh 2002, p. 319 and fn 21.
  61. ^ White 1979, p. 78.
  62. ^ White 1979, p. 619.
  63. ^ Anonymous n.d.f.
  64. ^ Lawson 1986, pp. 297–301.
  65. ^ Walsh 2002, p. 336.
  66. ^ Kay n.d.
  67. ^ Walsh 2002, p. 329.
  68. ^ White 1979, p. 77.
  69. ^ Cooper 2000, p. 306.
  70. ^ Joseph 2001, p. 73.
  71. ^ a b Traut 2016, p. 8.
  72. ^ Craft 1992, pp. 73–81.
  73. ^ Walsh 2002, p. 193.
  74. ^ Stravinsky & Craft 1960, p. 51.
  75. ^ White 1979, pp. 85–86.
  76. ^ White 1979, p. 87.
  77. ^ Fontelles-Ramonet 2021.
  78. ^ White 1979, pp. 87–88.
  79. ^ Anonymous n.d.g.
  80. ^ a b White 1979, pp. 89, 90.
  81. ^ a b c Steinberg 2005, p. 270.
  82. ^ White 1979, pp. 90–91.
  83. ^ White 1979, pp. 91.
  84. ^ a b White 1979, p. 92.
  85. ^ a b White 1979, p. 98.
  86. ^ White 1979, pp. 98–100.
  87. ^ White 1979, pp. 103–104.
  88. ^ a b Routh 1975, p. 41.
  89. ^ White 1979, p. 105.
  90. ^ Routh 1975, p. 43.
  91. ^ Walsh 2006, p. 29.
  92. ^ a b Whiting 2005, p. 38.
  93. ^ Stravinsky & Craft 1960, p. 18.
  94. ^ Joseph 2001, p. 279.
  95. ^ Routh 1975, p. 44.
  96. ^ Walsh 2006, p. 595.
  97. ^ White 1979, p. 115.
  98. ^ White 1979, p. 116.
  99. ^ a b Holland 2001.
  100. ^ Braubach 2009.
  101. ^ Routh 1975, p. 46.
  102. ^ a b Routh 1975, p. 47.
  103. ^ Anonymous n.d.i.
  104. ^ Walsh 2006, p. 152.
  105. ^ White 1979, p. 429.
  106. ^ a b Walsh 2006, p. 185.
  107. ^ White 1979, p. 124.
  108. ^ Walsh 2006, p. 201.
  109. ^ Walsh 2006, p. 190.
  110. ^ Walsh 2006, p. 188.
  111. ^ Whiting 2005, pp. 39–40.
  112. ^ White 1979, p. 131.
  113. ^ Quoted in Walsh (2006, pp. 419).
  114. ^ White 1979, p. 133.
  115. ^ Whiting 2005, p. 40.
  116. ^ a b c Straus 2001, p. 4.
  117. ^ a b Routh 1975, pp. 56–57.
  118. ^ White 1979, p. 136.
  119. ^ White 1979, p. 137.
  120. ^ White 1979, p. 504.
  121. ^ White 1979, pp. 138–139.
  122. ^ Cunningham 2012.
  123. ^ Anonymous 2022.
  124. ^ Anonymous 1962a.
  125. ^ Anonymous 1962b.
  126. ^ White 1979, pp. 146–148.
  127. ^ Anonymous 1962c.
  128. ^ Walsh 2006, p. 476.
  129. ^ a b Walsh 2006, p. 488.
  130. ^ Walsh 2006, p. 501.
  131. ^ Walsh 2006, pp. 503–504.
  132. ^ Whiting 2005, p. 41.
  133. ^ Anonymous 2021.
  134. ^ a b Walsh 2006, p. 528.
  135. ^ Walsh 2006, p. 528, 529.
  136. ^ White 1979, p. 154.
  137. ^ Walsh 2006, p. 532.
  138. ^ White 1979, p. 155.
  139. ^ Walsh 2006, pp. 542–543.
  140. ^ Walsh 2006, p. 544.
  141. ^ Walsh 2006, p. 550.
  142. ^ a b Henahan 1971.
  143. ^ White 1979, p. 158.
  144. ^ Walsh 2006, p. 560.
  145. ^ Walsh 2006, p. 561.
  146. ^ a b Anonymous 1971.
  147. ^ White 1979, p. 159.
  148. ^ Rolls Press & Popperfoto 1971.
  149. ^ Collarile 2021, p. 104.
  150. ^ a b c d White & Noble 1980, p. 240.
  151. ^ a b c d Walsh 2003, p. 10.
  152. ^ a b c White & Noble 1980, p. 248.
  153. ^ a b White & Noble 1980, p. 253.
  154. ^ a b Walsh 2003, p. 1.
  155. ^ a b c White & Noble 1980, p. 259.
  156. ^ Walsh 2003, pp. 3–4.
  157. ^ Taruskin 1996, p. I: 100.
  158. ^ Walsh 2003, p. 4.
  159. ^ White 1979, p. 9.
  160. ^ a b White 1979, p. 10.
  161. ^ Walsh 2003, p. 5.
  162. ^ White 1979, p. 12.
  163. ^ White 1979, pp. 15–16.
  164. ^ McFarland 1994, pp. 205, 219.
  165. ^ McFarland 1994, p. 209.
  166. ^ McFarland 1994, p. 219 quoting Stravinsky & Craft 1962, p. 128.
  167. ^ Taruskin 1996, p. I: 662.
  168. ^ Taruskin 1996, p. I: 698.
  169. ^ a b White 1957, p. 61.
  170. ^ Hill 2000, p. 86.
  171. ^ Hill 2000, p. 63.
  172. ^ Ross 2008, p. 75.
  173. ^ Grout & Palisca 1981, p. 713.
  174. ^ V. Stravinsky & Craft 1978, p. 149.
  175. ^ White 1979, p. 563.
  176. ^ White & Noble 1980, p. 249.
  177. ^ V. Stravinsky & Craft 1978, p. 145.
  178. ^ a b White 1979, p. 240.
  179. ^ Walsh 2003, p. 16.
  180. ^ a b White & Noble 1980, p. 250.
  181. ^ V. Stravinsky & Craft 1978, p. 144.
  182. ^ Zak 1985, p. 105.
  183. ^ Walsh 2001, 4. Exile in Switzerland, 1914–20.
  184. ^ White 1979, p. 62.
  185. ^ V. Stravinsky & Craft 1978, p. 183.
  186. ^ a b White & Noble 1980, p. 251.
  187. ^ Freed 1981.
  188. ^ a b V. Stravinsky & Craft 1978, p. 218.
  189. ^ Lowe 2016.
  190. ^ Taruskin 1992a, pp. 651–652.
  191. ^ a b Szabo 2011, pp. 19–22.
  192. ^ Szabo 2011, p. 39.
  193. ^ Szabo 2011, p. 23.
  194. ^ Szabo 2011, p. 1.
  195. ^ White & Noble 1980, p. 256.
  196. ^ Taruskin 1992b, pp. 1222–1223.
  197. ^ White & Noble 1980, p. 257.
  198. ^ Taruskin 1992b, p. 1220.
  199. ^ Craft 1982.
  200. ^ a b c d e White & Noble 1980, p. 261.
  201. ^ Straus 1999, p. 67.
  202. ^ White & Noble 1980, pp. 261–262.
  203. ^ White 1979, p. 539.
  204. ^ White 1979, p. 134.
  205. ^ a b Predota 2021b.
  206. ^ Taruskin 1980, pp. 501.
  207. ^ Taruskin 1996, p. 558, 559.
  208. ^ Zak 1985, p. 103.
  209. ^ Taruskin 1980, pp. 502.
  210. ^ White 1979, p. 359, 360.
  211. ^ Steinberg 2005, p. 268.
  212. ^ Zinar 1978, pp. 177.
  213. ^ White 1979, p. 375.
  214. ^ White 1979, p. 376, 377.
  215. ^ White 1979, p. 451, 452.
  216. ^ Stravinsky & Craft 1960, p. 146.
  217. ^ a b c Anonymous n.d.y.
  218. ^ White 1979, p. 560, 561.
  219. ^ White 1979, p. 32.
  220. ^ Nandlal 2017, pp. 81–82.
  221. ^ Stravinsky & Craft 1959, p. 117.
  222. ^ Anonymous n.d.j.
  223. ^ Nandlal 2017, pp. 81.
  224. ^ Stravinsky & Craft 1959, pp. 116–117.
  225. ^ a b c Glass 1998.
  226. ^ a b Predota 2021a.
  227. ^ Lamb 2019.
  228. ^ a b Anonymous 1999.
  229. ^ White 1997, p. 7.
  230. ^ Walsh 2003, p. 49.
  231. ^ Blitzstein 1935, p. 330.
  232. ^ Lambert 1934, p. 94.
  233. ^ Lambert 1934, pp. 101–105.
  234. ^ Satie 1923.
  235. ^ Karlinsky 1985, p. 282.
  236. ^ Norris 1976, pp. 39–40.
  237. ^ White 1997, p. 171.
  238. ^ Siegel & Tilson Thomas 2013.
  239. ^ Simon & Alsop 2007.
  240. ^ Simeone, Craft & Glass 1999.
  241. ^ Browne 1930, p. 360.
  242. ^ Copland 1952, p. 37.
  243. ^ a b c Cross 1998, p. 6.
  244. ^ Walsh 2003, p. 50.
  245. ^ Matthews 1970–1971, p. 11.
  246. ^ Schiff 1995.
  247. ^ Taruskin 1998.
  248. ^ Pfitzinger 2017, p. 17.
  249. ^ Plasketes 2016, pp. 6–7.
  250. ^ Anonymous n.d.k.
  251. ^ Anonymous n.d.l.
  252. ^ Anonymous n.d.m.
  253. ^ Anonymous n.d.n.
  254. ^ Anonymous n.d.o.
  255. ^ Anonymous n.d.p.
  256. ^ Anonymous n.d.q.
  257. ^ Anonymous n.d.r.
  258. ^ Anonymous n.d.s.
  259. ^ Pasler 2001, p. 543.
  260. ^ Anonymous n.d.t.
  261. ^ Anonymous n.d.u.
  262. ^ Anonymous n.d.v.
  263. ^ a b Anonymous n.d.w.
  264. ^ a b Boretz & Cone 1968, pp. 268–288.
  265. ^ Cross n.d.
  266. ^ Anonymous n.d.x.
  267. ^ Stravinsky 1936, pp. 91–92.
  268. ^ Stravinsky & Craft 1959.
  269. ^ Stravinsky & Dufour 2013.
  270. ^ White 1979, pp. 621–624.
  271. ^ Walsh 2001, "Writings".

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  • Zak, Rose A. (1985). ""L'Histoire du soldat": Approaching the Musical Text". Mosaic: An Interdisciplinary Critical Journal. 18 (4): 101–107. ISSN 0027-1276. JSTOR 24778812.
  • Zinar, Ruth (Fall 1978). "Stravinsky and His Latin Texts". College Music Symposium. College Music Society. 18 (2): 176–188. ISSN 0069-5696. JSTOR 40373983.

Further reading edit

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November 24, 2023
igor, stravinsky, stravinsky, redirects, here, other, uses, stravinsky, disambiguation, this, name, that, follows, eastern, slavic, naming, conventions, patronymic, fyodorovich, family, name, stravinsky, igor, fyodorovich, stravinsky, june, june, 1882, april, . Stravinsky redirects here For other uses see Stravinsky disambiguation In this name that follows Eastern Slavic naming conventions the patronymic is Fyodorovich and the family name is Stravinsky Igor Fyodorovich Stravinsky a 17 June O S 5 June 1882 6 April 1971 was a Russian composer and conductor with citizenship in France from 1934 and the United States from 1945 He is widely considered one of the most important and influential composers of the 20th century and a pivotal figure in modernist music Igor StravinskyStravinsky in the early 1920sBorn 1882 06 17 17 June 1882Oranienbaum Saint Petersburg RussiaDied6 April 1971 1971 04 06 aged 88 New York City USOccupationsComposerconductorpianistWorksList of compositionsSignatureStravinsky s father was an established bass opera singer and Stravinsky grew up taking piano and music theory lessons While studying law at the University of Saint Petersburg he met Nikolai Rimsky Korsakov and studied under him until Rimsky Korsakov s death in 1908 Stravinsky met the impresario Sergei Diaghilev soon after who commissioned Stravinsky to write three ballets The Firebird 1910 Petrushka 1911 and The Rite of Spring 1913 the last of which brought him international fame after the near riot at the premiere and changed the way composers understood rhythmic structure Stravinsky s compositional career is divided into three periods his Russian period 1913 1920 his neoclassical period 1920 1951 and his serial period 1954 1968 Stravinsky s Russian period was characterised by influence from Russian styles and folklore Renard 1916 and Les noces 1923 were based on Russian folk poetry and works like L Histoire du soldat blended these folktales with popular musical structures like the tango waltz rag and chorale His neoclassical period exhibited themes and techniques from the classical period like the use of the sonata form in his Octet 1923 and use of Greek mythological themes in works like Apollon musagete 1927 Oedipus rex 1927 and Persephone 1935 In his serial period Stravinsky turned towards compositional techniques from the Second Viennese School like Arnold Schoenberg s twelve tone technique In Memoriam Dylan Thomas 1954 was the first of his compositions to be fully based on the technique and Canticum Sacrum 1956 was his first to be based on a tone row Stravinsky s last major work was the Requiem Canticles 1966 which was performed at his funeral While some composers and academics of the time disliked the avant garde nature of Stravinsky s music particularly The Rite of Spring later writers recognized his importance to the development of modernist music Stravinsky s revolutions of rhythm and modernism influenced composers like Aaron Copland Philip Glass Bela Bartok and Pierre Boulez all of whom felt impelled to face the challenges set by The Rite of Spring as George Benjamin wrote in The Guardian 1 In 1998 Time magazine named Stravinsky one of the 100 most influential people of the century Stravinsky died of pulmonary edema on 6 April 1971 in New York City Contents 1 Biography 1 1 Early life 1882 1901 1 2 Education and first compositions 1901 1909 1 3 Ballets for Diaghilev and international fame 1909 1920 1 4 Life in France 1920 1939 1 5 Life in the United States 1939 1971 1 5 1 Early US years 1939 1945 1 5 2 Last major works 1945 1966 1 5 3 Final years and death 1967 1971 2 Music 2 1 Student works 1898 1907 2 2 First three ballets 1910 1913 2 3 Russian period 1913 1920 2 4 Neoclassical period 1920 1951 2 5 Serial period 1954 1968 3 Influences 3 1 Literary 3 2 Artistic 4 Legacy 5 Honours 6 Recordings 7 Writings 7 1 Books 7 2 Articles 8 References 8 1 Notes 8 2 Citations 8 3 Sources 9 Further reading 10 External linksBiography editEarly life 1882 1901 edit nbsp The Stravinsky house in Ustilug modern day UkraineStravinsky was born on 17 June 1882 in the town of Oranienbaum on the southern coast of the Gulf of Finland 25 mi 40 km west of Saint Petersburg 2 3 His father Fyodor Ignatievich Stravinsky was an established bass opera singer in the Kiev Opera and the Mariinsky Theatre in Saint Petersburg and his mother Anna Kirillovna Stravinskaya nee Kholodovskaya 1854 1939 a native of Kiev was one of four daughters of a high ranking official in the Kiev Ministry of Estates Igor was the third of their four sons his brothers were Roman Yury and Gury 4 The Stravinsky family was of Polish and Russian heritage 5 descended from a long line of Polish grandees senators and landowners 6 It is traceable to the 17th and 18th centuries to the bearers of the Sulima and Strawinski coat of arms The original family surname was Sulima Strawinski the name Stravinsky originated from the word Strava one of the variants of the Streva river in Lithuania 7 8 On 10 August 1882 Stravinsky was baptised at Nikolsky Cathedral in Saint Petersburg 4 Stravinsky s first school was the Second Saint Petersburg Gymnasium where he stayed until his mid teens Then he moved to Gourevitch Gymnasium a private school where he studied history mathematics and languages Latin Greek French German Slavonic and his native Russian 9 Stravinsky expressed his general distaste for schooling and recalled being a lonely pupil I never came across anyone who had any real attraction for me 10 At around eight years old he attended a performance of Pyotr Ilyich Tchaikovsky s ballet The Sleeping Beauty at the Mariinsky Theatre which began a lifelong interest in ballets and Tchaikovsky 11 Stravinsky took to music at an early age and began regular piano lessons at age nine followed by tuition in music theory and composition 12 By age fourteen Stravinsky mastered Mendelssohn s Piano Concerto No 1 and at age fifteen finished a piano reduction of a string quartet by Alexander Glazunov who reportedly considered Stravinsky unmusical and thought little of his skills 11 Education and first compositions 1901 1909 edit Despite Stravinsky s enthusiasm and ability in music his parents expected him to study law In 1901 he enrolled at the University of Saint Petersburg studying criminal law and legal philosophy but attendance at lectures was optional and he estimated that he turned up to fewer than fifty classes in his four years of study 13 nbsp Nikolai Rimsky Korsakov painted by Valentin Serov in 1898In 1902 Stravinsky met Vladimir a fellow student at the University of Saint Petersburg and the youngest son of Nikolai Rimsky Korsakov Nikolai at that time was arguably the leading Russian composer and he was a professor at Saint Petersburg Conservatory Stravinsky wished to meet him to discuss his musical aspirations He spent the summer of 1902 with Rimsky Korsakov and his family in Heidelberg Germany Rimsky Korsakov suggested to Stravinsky that he should not enter the Saint Petersburg Conservatory but continue private lessons in theory 14 By the time of his father s death in 1902 Stravinsky was spending more time studying music than law 13 His decision to pursue music full time was helped when the university was closed for two months in 1905 in the aftermath of Bloody Sunday which prevented him from taking his final law exams 15 In April 1906 Stravinsky received a half course diploma and concentrated on music thereafter 16 In 1905 he had begun studying with Rimsky Korsakov twice a week and came to regard him as a second father 13 These lessons continued until Rimsky Korsakov s death in 1908 17 Stravinsky completed his first composition during this time the Symphony in E flat catalogued as Opus 1 In 1908 soon after Rimsky Korsakov s death Stravinsky composed Funeral Song Op 5 which was performed once and then considered lost until its re discovery in 2015 18 In August 1905 Stravinsky became engaged to his first cousin Yekaterina Gavrilovna Nosenko In spite of the Orthodox Church s opposition to marriage between first cousins the couple married on 23 January 1906 19 20 They lived in the family s residence at 66 Krukov Canal in Saint Petersburg before they moved into a new home in Ustilug which Stravinsky designed and built chosen because Stravinsky had spent many summers there as a child with his father in law 21 19 22 Stravinsky worked on many of his early compositions there including Funeral Song the revision of Feu d artifice The Nightingale and some parts of The Rite of Spring 23 24 It is now a museum with documents letters and photographs on display and an annual Stravinsky Festival takes place in the nearby town of Lutsk 25 26 The couple had two children Fyodor and Ludmila who were born in 1907 and 1908 respectively 22 Ballets for Diaghilev and international fame 1909 1920 edit nbsp Sergei Diaghilev in a 1906 painting by Leon BakstBy 1909 Stravinsky had composed two more pieces Scherzo fantastique Op 3 and Feu d artifice Fireworks Op 4 In February of that year both were performed in Saint Petersburg at a concert that marked a turning point in Stravinsky s career In the audience was Sergei Diaghilev a Russian impresario and owner of the Ballets Russes who was struck with Stravinsky s compositions He commissioned Stravinsky to write some orchestrations for the 1909 ballet season which were finished by April of that year While planning for the 1910 ballet season Diaghilev wished to stage a new ballet from fresh talent that was based on the Russian fairytale of the Firebird After Anatoly Lyadov was given the task of composing the score he informed Diaghilev that he needed about one year to complete it Diaghilev then asked the 28 year old Stravinsky who had already begun work on the score in anticipation of the commission 27 At about 50 minutes in length The Firebird was revised by Stravinsky into concert suites in 1919 and 1945 28 The Firebird premiered at the Opera de Paris on 25 June 1910 to widespread critical acclaim and Stravinsky became an overnight sensation 29 30 As his wife was pregnant the Stravinskys spent the summer in La Baule in western France In September they moved to Clarens Switzerland where their second son Soulima was born 31 The family would spend their summers in Russia and winters in Switzerland until 1914 32 Diaghilev commissioned Stravinsky to score a second ballet for the 1911 Paris season The result was Petrushka based on the Russian folk tale featuring the titular character a puppet who falls in love with another a ballerina 33 Though it failed to capture the immediate reception that The Firebird had following its premiere at Theatre du Chatelet in June 1911 the production continued Stravinsky s success 34 nbsp 2008 production of The Rite of Spring by Pina Bausch nbsp Opening measures of the Sacrificial Dance showing the odd metres and chords b It was Stravinsky s third ballet for Diaghilev The Rite of Spring that caused a sensation among critics fellow composers and concertgoers Based on an idea thought up by Stravinsky while composing Firebird the production features a series of primitive pagan rituals celebrating the advent of spring 35 Stravinsky s score contained many novel features for its time including experiments in tonality metre rhythm stress and dissonance The radical nature of the music and choreography caused a near riot at its premiere at the Theatre des Champs Elysees on 29 May 1913 36 37 Shortly after the premiere Stravinsky contracted typhoid from eating bad oysters and he was confined to a Paris nursing home He left in July 1913 and returned to Ustilug 38 For the rest of the summer he focused on his first opera The Nightingale based on a story by Hans Christian Andersen which Stravinsky had started in 1908 39 On 15 January 1914 Stravinsky and Nosenko had their fourth child Marie Milene or Maria Milena After her delivery Nosenko was discovered to have tuberculosis and was committed to a sanatorium in Leysin in the Alps Stravinsky took up residence nearby where he completed The Nightingale 40 41 The work premiered in Paris in May 1914 after the Moscow Free Theatre had commissioned the piece for 10 000 roubles but soon became bankrupt Diaghilev agreed that the Ballets Russes to stage it 42 43 The opera had only lukewarm success with the public and the critics apparently because its delicacy did not meet their expectations following the tumultuous Rite of Spring 41 However composers including Maurice Ravel Bela Bartok and Reynaldo Hahn found much to admire in the score s craftsmanship even claiming to detect the influence of Arnold Schoenberg 44 nbsp Yekaterina Stravinsky in 1907In April 1914 Stravinsky and his family returned to Clarens 45 Stravinsky was ineligible for military service in the World War due to his history of typhoid 32 Stravinsky managed a short visit to Ustilug to retrieve personal items just before borders were closed 46 In June 1915 he and his family moved from Clarens to Morges a town six miles from Lausanne on the shore of Lake Geneva The family lived there at three different addresses until 1920 47 In December 1915 Stravinsky made his conducting debut at two concerts in aid of the Red Cross with The Firebird 48 The war and subsequent Russian Revolution in 1917 made it impossible for Stravinsky to return to his homeland 49 Stravinsky began to struggle financially in the late 1910s When Russia and its successor the USSR did not adhere to the Berne Convention and the aftermath of World War I left countries in ruin royalties for performances of Stravinsky s pieces stopped coming 50 51 Stravinsky seeking financial assistance approached the Swiss philanthropist Werner Reinhart who agreed to sponsor him and largely underwrite the first performance of L Histoire du soldat in September 1918 52 In gratitude Stravinsky dedicated the work to Reinhart and gave him the original manuscript 51 Reinhart supported Stravinsky further when he funded a series of concerts of his chamber music in 1919 53 54 In gratitude to his benefactor Stravinsky dedicated his Three Pieces for Solo Clarinet to Reinhart who was an amateur clarinettist 55 Stravinsky travelled to Paris to attend the premiere of Pulcinella by the Ballets Russes on 15 May 1920 returning to Switzerland afterwards 56 Life in France 1920 1939 edit In June 1920 Stravinsky and his family left Switzerland for France first settling in Carantec for the summer while they sought a permanent home in Paris 57 58 nbsp Stravinsky as drawn by Pablo Picasso in 1920They soon heard from the couturiere Coco Chanel who invited the family to live in her Paris mansion until they had found their own residence The Stravinskys accepted and arrived in September 59 Chanel helped secure a guarantee for a revival production of The Rite of Spring by the Ballets Russes from December 1920 with an anonymous gift to Diaghilev that was claimed to be worth 300 000 francs 60 In 1920 Stravinsky signed a contract with the French piano manufacturing company Pleyel As part of the deal Stravinsky transcribed most of his compositions for their player piano the Pleyela The company helped collect Stravinsky s mechanical royalties for his works and provided him with a monthly income In 1921 he was given studio space at their Paris headquarters where he worked and entertained friends and acquaintances 61 62 63 The piano rolls were not recorded but were instead marked up from a combination of manuscript fragments and handwritten notes by Jacques Larmanjat musical director of Pleyel s roll department During the 1920s Stravinsky recorded Duo Art piano rolls for the Aeolian Company in London and New York City 64 Stravinsky met Vera Sudeikin in Paris in February 1921 65 while she was married to the painter and stage designer Serge Sudeikin and they began an affair that led to Vera Sudeikin leaving her husband in the spring of 1922 66 nbsp Vera de Bosset in 1924 painted by Serge SudeikinIn May 1921 Stravinsky and his family moved to Anglet a town close to the Spanish border 67 Their stay was short lived as by autumn they had settled to nearby Biarritz and Stravinsky completed his Trois mouvements de Petrouchka a piano transcription of excerpts from Petrushka for Artur Rubinstein Diaghilev then requested orchestrations for a revival production of Tchaikovsky s The Sleeping Beauty 68 From then until his wife s death in 1939 Stravinsky led a double life dividing his time between his family in Anglet and Vera Sudeikin in Paris and on tour 69 Nosenko reportedly bore her husband s situation with a mixture of magnanimity bitterness and compassion 70 In June 1923 Stravinsky s ballet Les noces premiered in Paris and performed by the Ballets Russes 71 In the following month he started to receive money from an anonymous patron from the US who insisted on remaining anonymous and only identified themselves as Madame They promised to send him 6 000 in the course of three years and sent Stravinsky an initial cheque for 1 000 Stravinsky s later student Robert Craft believed that the patron was the famed conductor Leopold Stokowski whom Stravinsky had recently met and theorised that the conductor wanted to win Stravinsky over to visit the US 71 72 In September 1924 Stravinsky bought a new home in Nice 73 Here the composer re evaluated his religious beliefs and reconnected with his Christian faith with help from a Russian priest Father Nicholas 74 He also thought of his future and used the experience of conducting the premiere of his Octet at one of Serge Koussevitzky s concerts the year before to build on his career as a conductor Koussevitzky asked Stravinsky to compose a new piece for one of his upcoming concerts Stravinsky agreed to a piano concerto The Concerto for Piano and Wind Instruments was first performed in May 1924 with Stravinsky as the soloist 75 The piece was a success and Stravinsky secured himself the exclusive rights to perform the work for the next five years 76 Stravinsky visited Catalonia six times and the first time in 1924 after holding three concerts with the Pau Casals Orchestra at the Gran Teatre del Liceu he said Barcelona will be unforgettable for me What I liked most was the cathedral and the sardanas 77 Following a European tour through the latter half of 1924 Stravinsky completed his first US tour in early 1925 which spanned two months 78 It opened with Stravinsky conducting an all Stravinsky programme at Carnegie Hall 79 In 1926 Stravinsky rejoined the Orthodox Church having been moved by a ceremony at the Basilica of Saint Anthony of Padua while on a spring concert tour 80 81 In May 1927 Stravinsky s opera oratorio Oedipus Rex premiered in Paris The funding of its production was largely provided by Winnaretta Singer Princesse Edmond de Polignac who paid 12 000 francs for a private preview of the piece at her house Stravinsky gave the money to Diaghilev to help finance the public performances The premiere at the Theatre Sarah Bernhardt received a negative reaction believed by the painter Boris Grigoriev to be due to its tameness compared to The Firebird which irked Stravinsky who had started to become annoyed at the public s fixation on his early ballets 82 In the summer of 1927 Stravinsky received a commission from Elizabeth Sprague Coolidge his first from the US A wealthy patron of music Coolidge requested a thirty minute ballet score for a festival to be held at the Library of Congress for a 1 000 fee 83 Stravinsky accepted and wrote Apollo which premiered in 1928 84 nbsp Samuel Dushkin date unknownAfter Diaghilev s death in 1929 Stravinsky continued touring across Europe playing the premiere of his Capriccio for Piano and Orchestra at the Salle Pleyel on 6 December and performing it in many European towns afterwards 85 Stravinsky toured for most of 1930 to 1933 also composing his Symphonies of Wind Instruments upon a commission from the Boston Symphony Orchestra and his Violin Concerto in D for Samuel Dushkin 86 After touring the latter with Dushkin Stravinsky was inspired to transcribe some of his works for violin and piano later touring these transcriptions at recitals with Dushkin 87 In June 1934 the Stravinskys acquired French citizenship Later in that year they moved to a house on the Rue du Faubourg Saint Honore in Paris where they stayed for five years 85 88 89 The composer used his citizenship to publish his memoirs in French entitled Chroniques de ma Vie in 1935 His only composition of that year was the Concerto for Two Solo Pianos which was written for himself and his son Sviatoslav using a special double piano that Pleyel had built The pair completed a tour of Europe and South America in 1936 88 In April 1937 he directed his three part ballet Jeu de cartes a commission for Lincoln Kirstein s ballet company in New York City with choreography by George Balanchine 90 Upon his return to Europe Stravinsky left Paris for Annemasse near the Swiss border to be near his family after his wife and daughters Ludmila and Milena had contracted tuberculosis and were in a sanatorium 91 Ludmila died in late 1938 followed by his wife of 33 years in March 1939 92 Stravinsky himself spent five months in hospital at Sancellemoz 93 during which time his mother also died 92 During his later years in Paris Stravinsky had developed professional relationships with key people in the United States he was already working on his Symphony in C for the Chicago Symphony Orchestra and he had agreed to accept the Charles Eliot Norton Chair of Poetry of 1939 1940 at Harvard University and while there deliver six lectures on music as part of the prestigious Charles Eliot Norton Lectures 94 95 96 Life in the United States 1939 1971 edit Early US years 1939 1945 edit Stravinsky arrived in New York City on 30 September 1939 and headed for Cambridge Massachusetts to fulfil his engagements at Harvard During his first two months in the US Stravinsky stayed at Gerry s Landing the home of art historian Edward W Forbes 97 Vera Sudeikin arrived in January 1940 and the couple married on 9 March in Bedford Massachusetts After a period of travel the two moved into a home in Beverly Hills California before they settled in Hollywood from 1941 Stravinsky felt the warmer Californian climate would benefit his health 98 Stravinsky had adapted to life in France but moving to America at the age of 58 was a very different prospect For a while he maintained a circle of contacts and emigre friends from Russia but he eventually found that this did not sustain his intellectual and professional life He was drawn to the growing cultural life of Los Angeles especially during World War II when writers musicians composers and conductors settled in the area The music critic Bernard Holland claimed Stravinsky was especially fond of British writers who visited him in Beverly Hills like W H Auden Christopher Isherwood and later Dylan Thomas They shared the composer s taste for hard spirits especially Aldous Huxley with whom Stravinsky spoke in French 99 Stravinsky and Huxley had a tradition of Saturday lunches for west coast avant garde and luminaries 100 In 1940 Stravinsky completed his Symphony in C and conducted the Chicago Symphony Orchestra at its premiere later that year 101 At this time Stravinsky began to associate himself with film music the first major film to use his music was Walt Disney s animated feature Fantasia 1940 which includes parts of The Rite of Spring rearranged by Leopold Stokowski to a segment depicting the history of Earth and the age of dinosaurs 102 Orson Welles urged Stravinsky to write the score for Jane Eyre 1943 but negotiations broke down a piece used in one of the film s hunting scenes was used in Stravinsky s orchestral work Ode 1943 An offer to score The Song of Bernadette 1943 also fell through Stravinsky considered the terms were too much in the producer s favour Music he had written for the film was later used in his Symphony in Three Movements 102 Stravinsky s unconventional dominant seventh chord in his arrangement of the Star Spangled Banner led to an incident with the Boston police on 15 January 1944 and he was warned that the authorities could impose a 100 fine upon any re arrangement of the national anthem in whole or in part c The police as it turned out were wrong The law in question forbade using the national anthem as dance music as an exit march or as a part of a medley of any kind 103 but the incident soon established itself as a myth in which Stravinsky was supposedly arrested held in custody for several nights and photographed for police records 104 On 28 December 1945 the Stravinskys became naturalised US citizens 105 Their sponsor and witness was the actor Edward G Robinson 106 Last major works 1945 1966 edit nbsp Stravinsky on the cover of TIME in 1948On the same day Stravinsky became an American citizen he arranged for Boosey amp Hawkes to publish rearrangements of several of his compositions and used his newly acquired American citizenship to secure a copyright on the material thus allowing him to earn money from them 107 The five year contract was finalised and signed in January 1947 which included a guarantee of 10 000 per for the first two years then 12 000 for the remaining three 108 In late 1945 Stravinsky received a commission from Europe his first since Persephone in the form of a string piece for the 20th anniversary for Paul Sacher s Basle Chamber Orchestra The Concerto in D premiered in 1947 106 109 In January 1946 Stravinsky conducted the premiere of his Symphony in Three Movements at Carnegie Hall in New York City It marked his first premiere in the US 110 In 1947 Stravinsky was inspired to write his English language opera The Rake s Progress by a visit to a Chicago exhibition of the same titled series of paintings by the eighteenth century British artist William Hogarth which tells the story of a fashionable wastrel descending into ruin W H Auden and writer Chester Kallman worked on the libretto The opera premiered in 1951 and marks the final work of Stravinsky s neoclassical period 111 While composing The Rake s Progress Stravinsky met Robert Craft whom Stravinsky invited to his home in Hollywood as a personal assistant 112 Craft soon became Stravinsky s closest friend his confident amanuensis spokesman and fellow conductor as Jay Harrison wrote in the New York Herald Tribune 113 Craft encouraged the composer to explore serial music and the composers of the Second Viennese School beginning Stravinsky s third and final distinct musical period which lasted until his death 114 115 116 In 1953 Stravinsky agreed to compose a new opera with a libretto by Dylan Thomas which detailed the recreation of the world after one man and one woman remained on Earth after a nuclear disaster Development on the project came to a sudden end following Thomas s death in November of that year Stravinsky completed In Memoriam Dylan Thomas a piece for tenor string quartet and four trombones in 1954 117 Stravinsky composed his cantata Canticum Sacrum for the International Festival of Contemporary Music in Venice to which he dedicated the work and it premiered on 13 September 1956 118 The work inspired the Norddeutscher Rundfunk to commission the musical setting Threni in 1957 which was premiered by their orchestra and chorus on 23 September 1958 119 120 In 1959 Craft interviewed Stravinsky for an article titled Answers to 35 Questions in which Stravinsky corrected a number of myths surrounding him and discussed his relationships with many of his collaborators The article was later expanded into a book and over the next four years three more books of this fashion were published due to Craft s initiative 121 nbsp Stravinsky in 1962In 1961 the Stravinskys and Craft travelled to London Zurich and Cairo on their way to Australia where Stravinsky and Craft conducted all Stravinsky concerts in Sydney and Melbourne They returned to California via New Zealand Tahiti and Mexico 122 123 In January 1962 during his tour s stop in Washington D C Stravinsky attended a dinner at the White House with President John F Kennedy in honour of his 80th birthday where he received a special medal for the recognition his music has achieved throughout the world 124 125 In September 1962 Stravinsky returned to Russia for the first time since 1914 accepting an invitation from the Union of Soviet Composers to conduct six performances in Moscow and Leningrad During the three week visit he met with Soviet Premier Nikita Khrushchev and several leading Soviet composers including Dmitri Shostakovich and Aram Khachaturian 126 127 Stravinsky did not return to his Hollywood home until December 1962 in what was almost eight months of continual travelling 128 Following the assassination of Kennedy in 1963 Stravinsky completed his Elegy for J F K in the following year The two minute work took the composer two days to write 129 By early 1964 the long periods of travel started to affect Stravinsky s health His case of polycythemia worsened and his friends noticed that his movements and speech had slowed 129 In 1965 Stravinsky agreed to have David Oppenheim produce a documentary film about himself for the CBS network It involved a film crew following the composer at home and on tour that year and he was paid 10 000 for the production 130 The documentary includes Stravinsky s visit to Les Tilleuls the house in Clarens where he wrote the majority of The Rite of Spring The crew asked Soviet authorities for permission to film Stravinsky returning to his hometown of Ustilug but the request was denied 131 In 1966 Stravinsky completed his last major work the Requiem Canticles 132 His final attempt at composition Two Sketches for a Sonata existed in a manuscript of short piano fragments The sketches were published by Boosey amp Hawkes in 2021 133 Final years and death 1967 1971 edit nbsp Massey Hall in Toronto Canada photographed in 2017In March 1967 Stravinsky conducted L Histoire du soldat with the Seattle Opera By this time Stravinsky s typical performance fee had grown to 10 000 However after Stravinsky s conducting became erratic and vague as one reviewer described it Craft cancelled all concerts that required Stravinsky to fly 134 An exception to this was a concert at Massey Hall in Toronto in May 1967 where he conducted the relatively physically undemanding Pulcinella suite with the Toronto Symphony Orchestra Unbeknownst to him it was his final performance as conductor 135 136 While backstage at the venue Stravinsky informed Craft that he believed he had suffered a stroke 134 In August 1967 Stravinsky was hospitalised in Hollywood for bleeding stomach ulcers and thrombosis which required a blood transfusion 137 By 1968 Stravinsky had recovered enough to resume touring across the US with him in the audience while Craft took to the conductor s post for the majority of the concerts In May 1968 Stravinsky completed the piano arrangement of two songs by Hugo Wolf for a small orchestra 138 In October the Stravinskys and Craft travelled to Zurich to sort out business matters with Stravinsky s family 139 The three considered relocating to Switzerland as they had become increasingly less fond of Hollywood but they decided against it and returned to the US 140 In October 1969 after close to three decades in California and Stravinsky being denied to travel overseas by his doctors due to ill health the Stravinskys secured a two year lease for a luxury three bedroom apartment in Essex House in New York City Craft moved in with them effectively putting his career on hold to care for the ailing composer 141 Among Stravinsky s final projects was orchestrating two preludes from Bach s The Well Tempered Clavier but it was never completed 142 In June 1970 he travelled to Evian les Bains by Lake Geneva where he reunited with his eldest son Fyodor and niece Xenia 143 nbsp Stravinsky s grave in VeniceOn 18 March 1971 Stravinsky was taken to Lenox Hill Hospital with pulmonary edema where he stayed for ten days On 29 March he moved into a newly furnished apartment at 920 Fifth Avenue his first city apartment since living in Paris in 1939 After a period of well being the edema returned on 4 April and Vera Stravinsky insisted that medical equipment should be installed in the apartment 144 Stravinsky soon stopped eating and drinking and died at 5 20 a m on 6 April at the age of 88 The cause on his death certificate is heart failure A funeral service was held three days later at Frank E Campbell Funeral Chapel 142 145 In accordance with his wishes he was buried in the Russian corner of the cemetery island of San Michele in Venice several yards from the tomb of Sergei Diaghilev 146 147 having been brought there by gondola after a service at Santi Giovanni e Paolo led by Cherubin Malissianos Archimandrite of the Greek Orthodox Church 146 148 During the service his Requiem Canticles and organ music by Andrea Gabrieli were performed 149 Music editFurther information List of compositions by Igor StravinskyMost of Stravinsky s student works were composed for assignments from his teacher Rimsky Korsakov being mainly influenced by Rimsky Korsakov and other Russian composers 150 Stravinsky s first three ballets The Firebird Petrushka and The Rite of Spring were the beginning of his international fame and deviation from the conservative Saint Petersburg life 150 151 Stravinsky s music is often divided into three periods of composition his Russian period 1913 1920 where he was greatly influenced by Russian folklore and style 152 his neoclassical period 1920 1951 where Stravinsky turned towards techniques and themes from the Classical period 153 154 and his serial period 1954 1968 where Stravinsky used serial composition techniques pioneered by composers of the Second Viennese School 155 116 Student works 1898 1907 edit Stravinsky s time before meeting Diaghilev was spent learning from Rimsky Korsakov and his collaborators 150 Only three works survive from before Stravinsky met Rimsky Korsakov in August 1902 Tarantella 1898 Scherzo in G minor 1902 and The Storm Cloud the first two being works for piano and the last for voice and piano 156 157 Stravinsky s first assignment from Rimsky Korsakov was the four movement Piano Sonata in F minor which was also his first work to be performed in public 158 159 Rimsky Korsakov often gave Stravinsky the task of orchestrating various works to allow him to analyze the works form and structure 160 A number of Stravinsky s student compositions were performed at Rimsky Korsakov s gatherings at his home these include a set of bagatelles a chanson comique and a cantata showing the use of classical musical techniques that would later define Stravinsky s neoclassical period 160 Stephen Walsh described this time in Stravinsky s musical career as aesthetically cramped due to the cynical conservatism of Rimsky Korsakov and his music 161 Rimsky Korsakov thought the Symphony in E flat 1907 was swayed too much by Glazunov s style and disliked the modernist influence on Faun and Shepherdess 1907 162 First three ballets 1910 1913 edit nbsp Sketch of costumes for The Firebird by Leon Bakst 1910After the premiere of Scherzo fantastique and Feu d artifice attracted the attention of Diaghilev he commissioned Stravinsky to orchestrate Chopin s Nocturne in A flat major and Grande valse brillante in E flat major for the new ballet Les Sylphides and commissioned Stravinsky s first ballet The Firebird a few months after 163 The Firebird used a harmonic structure that Stravinsky called leit harmony a portmanteau of leitmotif and harmony used by Rimsky Korsakov in his opera The Golden Cockerel 164 The leit harmony was used to juxtapose the protagonist the Firebird and the antagonist Koschei the Deathless the Firebird being associated with whole tone phrases and Koschei being associated with octatonic music 165 Stravinsky later wrote how he composed The Firebird in a state of revolt against Rimsky and that he tried to surpass him with ponticello col legno flautando glissando and fluttertongue effects 166 Stravinsky s second ballet for the Ballets Russes Petrushka is where Stravinsky defined his musical character 167 Originally meant to be a konzertstuck for piano and orchestra Diaghilev convinced Stravinsky that he should instead compose it as a ballet instead for the 1911 season 33 The Russian influence can be seen in the use of a number of Russian folk tunes in addition to two waltzes by Viennese composer Joseph Lanner and a French music hall tune La Jambe en bois or The Wooden Leg d Stravinsky also used a folk tune from Rimsky Korsakov s opera The Snow Maiden showing his continued influence on the music of Stravinsky 168 nbsp The chord opening Augurs of Spring Stravinsky s third ballet The Rite of Spring caused a sensation at the premiere due to the avant garde nature of the work 35 Stravinsky had begun to experiment with polytonality in The Firebird and Petrushka but for The Rite of Spring he pushed it to its logical conclusion as Eric Walter White describes it 169 In addition the complex metre in the music consists of phrases combining conflicting time signatures and odd accents such as the jagged slashes in the Sacrificial Dance 170 169 Both polytonality and unusual rhythms can be heard in the chords that open the second episode Augurs of Spring consisting of an E dominant 7 superimposed on an F major triad written in an uneven rhythm Stravinsky shifting the accents seemingly at random to create asymmetry 171 172 The Rite of Spring is one of the most famous and influential works of the 20th century the musicologist Donald Jay Grout described it as having the effect of an explosion that so scattered the elements of musical language that they could never again be put together as before 173 Russian period 1913 1920 edit The musicologist Jeremy Noble says that Stravinsky s intensive researches into Russian folk material took place during his time in Switzerland from 1914 to 1920 152 The composer Bela Bartok considered Stravinsky s Russian period to have begun in 1913 with The Rite of Spring due to the works use of Russian folk songs themes and techniques 174 The use of duple or triple metres was especially prevalent in Stravinsky s Russian period music while the pulse may have remained constant the time signature would often change to constantly shift the accents 175 Stravinsky did not use as many folk melodies as he had in his first three ballets but his works were with Russian style 176 Stravinsky used folk poetry often his next opera Les noces was based on texts from a collection of Russian folk poetry by Pyotr Kireevsky 32 177 and his opera ballet Renard was based on a folktale collected by Alexander Afanasyev 178 179 Many of Stravinsky s Russian period works featured animal characters and themes likely due to exposure to nursery rhymes he read with his four children 180 Stravinsky also used unique theatrical styles Les noces blended the ballet and cantata a unique production described on the score as Russian Choreographic Scenes 181 In Renard the voices were placed in the orchestra as they were meant to accompany the action on stage 180 L Histoire du soldat was composed in 1918 with the Swiss novelist Charles F Ramuz as a quirky musical theatre work for dancers a narrator and a septet 51 The work mixed the Russian folktales in the narrative with common musical structures of the time like the tango waltz rag and chorale 182 According to Walsh Stravinsky s music was always influenced by his Russian roots and despite their decreased use in his later output he maintained continuous musical innovation 183 Neoclassical period 1920 1951 edit In Naples Italy Stravinsky saw a commedia dell arte featuring the great drunken lout of a character Pulcinella who would later become the subject of his ballet Pulcinella 184 Officially begun in 1919 185 Pulcinella was commissioned by Diaghilev after he proposed the idea of a ballet based on music by Giovanni Battista Pergolesi Domenico Gallo and others whose music was published under Pergolesi s name 186 187 Composing a work based on harmonic and rhythmic systems by a late Baroque era composer was the beginning of Stravinsky s turn towards 18th century music that would serve him for some 30 productive years 186 Although White and Jeremy Noble consider Stravinsky s neoclassical period to have begun in 1920 with his Symphonies for Wind Instruments 150 153 Bartok argues that the period really starts with his Octet for Wind Instruments followed by his Concerto for Piano 188 During this period Stravinsky used techniques and themes from the Classical period of music 188 nbsp Dancers in the Ballets Russes Apollon musageteGreek mythology was a common theme in Stravinsky s neoclassical works His first Greek mythology based work was the ballet Apollon musagete 1927 choosing the leader of the Muses and god of art Apollo as the subject 84 Stravinsky would use themes from Greek mythology in future works like Oedipus rex 1927 Persephone 1935 and Orpheus 1947 189 Taruskin writes that Oedipus rex was the product of Stravinsky s neo classical manner at its most extreme and that musical techniques thought outdated were juxtaposed against a deliberately offputting hauteur 190 In addition Stravinsky turned towards older musical structures and techniques during this period and modernised them 191 192 His Octet 1923 uses the sonata form modernising it by disregarding the standard ordering of themes and traditional tonal relationships for different sections 191 The idea of musical counterpoint commonly used in the Baroque era was used throughout the choral Symphony of Psalms 193 Stravinsky s neoclassical period ended in 1951 with the opera The Rake s Progress 194 195 Taruskin described the opera as the hub and essence of neo classicism He points out how the opera contains numerous references to Greek mythology and other operas like Don Giovanni and Carmen but still embody s the distinctive structure of a fairy tale Stravinsky was inspired by the operas of Mozart in composing the music but other scholars also point out influence from Handel Gluck Beethoven Schubert Weber Rossini Donizetti and Verdi 196 197 The Rake s Progress has become an important work in opera repertoire being more performed than any other opera written after the death of Puccini 198 Serial period 1954 1968 edit In the 1950s Stravinsky began using serial compositional techniques such as the twelve tone technique originally devised by Arnold Schoenberg 199 Noble writes that this time was the most profound change in Stravinsky s musical vocabulary partly due to Stravinsky s newfound interest in the music of the Second Viennese School after meeting Robert Craft 155 nbsp Five tone row from In Memoriam Dylan Thomas 1954 Stravinsky first experimented with non twelve tone serial techniques in vocal and chamber works such as the Cantata 1952 the Septet 1953 and Three Songs from Shakespeare 1953 The first of his compositions fully based on such techniques was In Memoriam Dylan Thomas 1954 Agon 1954 57 was the first of his works to include a twelve tone series and the second movement from Canticum Sacrum 1956 was the first piece to contain a movement entirely based on a tone row 116 Agon s unique tonal structure was significant to Stravinsky s serial music the work begins diatonic moves towards full 12 tone serialism in the middle and returns to diatonicism in the end 200 Stravinsky returned to sacred themes in works such as Canticum Sacrum Threni 1958 A Sermon a Narrative and a Prayer 1961 and The Flood 1962 Stravinsky used a number of concepts from earlier works in his serial pieces for example the voice of God being two bass voices in homophony seen in The Flood was previously used in Les noces 200 Stravinsky s final work the Requiem Canticles 1966 made use of a complex four part array of tone rows throughout showing the evolution of Stravinsky s serialist music 201 200 Noble describes the Requiem Canticles as a distillation both of the liturgical text and of his own musical means of setting it evolved and refined through a career of more than 60 years 202 nbsp Four part array of tone rows from Requiem Canticles 1966 Influence from other composers can be seen throughout this period Stravinsky was heavily influenced by Schoenberg not only in his use of the twelve tone technique but also in the distinctly Schoenbergian instrumentation of the Septet and the Stravinskian interpretation of Schoenberg s Klangfarbenmelodie found in Stravinsky s Variations 155 200 Stravinsky also used a number of themes found in works by Benjamin Britten 200 commenting in Themes and Conclusions about the many titles and subjects I have shared with Mr Britten already 203 In addition Stravinsky was very familiar with the works of Anton Webern being one of the figures who inspired Stravinsky to consider serialism a possible form of composition 204 Influences editLiterary edit nbsp Portrait of Igor Stravinsky by Jacques Emile Blanche 1915 Stravinsky displayed a taste in literature that was wide and reflected his constant desire for new discoveries 205 The texts and literary sources for his work began with interest in Russian folklore 206 152 After moving to Switzerland in 1914 Stravinsky began gathering folk stories from numerous collections which were later used in works like Les noces Renard Pribaoutki and various songs 32 Many of Stravinsky s works including The Firebird Renard and L Histoire du soldat were inspired by Alexander Afanasyev s famous collection Russian Folk Tales 207 178 208 Collections of folk music influenced Stravinsky s music numerous melodies from The Rite of Spring were found in an anthology of Lithuanian folk songs 209 An interest in the Latin liturgy began shortly after Stravinsky rejoined the church in 1926 beginning with the composition of his first religious work in 1926 Pater Noster written in Old Church Slavonic 80 81 He later used three psalms from the Latin Vulgate in his Symphony of Psalms for orchestra and mixed choir 210 211 Many works in the composer s neoclassical and serial periods used or were based on liturgical texts 81 212 Stravinsky worked with many authors throughout his career He first worked with the Swiss novelist Charles F Ramuz on L Histoire du soldat in 1918 who wrote the text and helped form the idea 51 In 1933 Ida Rubinstein commissioned Stravinsky to set music to a poem by Andre Gide later becoming the melodrama Persephone 213 The two collaborated well at first but disagreements over the text caused Gide to leave the project 214 The story of The Rake s Progress was first conceived by Stravinsky and W H Auden the latter of whom wrote the libretto with Chester Kallman 215 216 Stravinsky befriended many other authors as well including T S Eliot 205 Aldous Huxley Christopher Isherwood and Dylan Thomas 99 the last of whom Stravinsky began working with on an opera in 1953 but stopped due to Thomas s death 117 Artistic edit Stravinsky worked with some of the most famous artists of his time many of whom he met after the premiere of The Firebird 151 217 Diaghilev was one of the composer s most prominent artistic influences having introduced him to composing for the stage and bringing him international fame with his first three ballets 217 218 Through the Ballets Russes and Diaghilev Stravinsky worked with figures like Vaslav Nijinsky Leonide Massine 151 Alexandre Benois 151 Michel Fokine and Leon Bakst 219 The composer s interest in art propelled him to develop a strong relationship with Picasso whom he met in 1917 220 From 1917 to 1920 the two engaged in an artistic dialogue in which they exchanged small scale works of art to each other as a sign of intimacy which included the famous portrait of Stravinsky by Picasso 221 and a short sketch of clarinet music by Stravinsky 222 This exchange was essential to establish how the artists would approach their collaborative space in Ragtime and Pulcinella 223 224 Legacy edit nbsp Portrait of Stravinsky 1918 by Robert Delaunay in the Garman Ryan CollectionStravinsky is widely regarded as one of the greatest composers of the 20th century 154 217 225 226 227 In 1998 Time magazine named him one of the 100 most influential people of the century 228 Stravinsky was not only recognised for his composing he also achieved fame as a pianist and as a conductor Philip Glass wrote in 1998 He conducted with an energy and vividness that completely conveyed his every musical intention Here was Stravinsky a musical revolutionary whose own evolution never stopped There is not a composer who lived during his time or is alive today who was not touched and sometimes transformed by his work 225 228 nbsp Stravinsky with Mstislav Rostropovich in Moscow in September 1962Stravinsky had a number of dissenters throughout his career particularly regarding his later works 229 230 In 1935 the American composer Marc Blitzstein compared Stravinsky to Jacopo Peri and C P E Bach conceding that There is no denying the greatness of Stravinsky It is just that he is not great enough 231 In 1934 the composer Constant Lambert described pieces such as L Histoire du soldat as containing essentially cold blooded abstraction melodic fragments in Histoire du Soldat are completely meaningless themselves They are merely successions of notes that can conveniently be divided into groups of three five and seven and set against other mathematical groups 232 233 On the contrary Erik Satie argued that measuring the greatness of an artist by comparing him to other artists is illusory and that every piece of music should be judged on its own merits and not by comparing it to the standards of other composers 234 Stravinsky s reputation in Russia and the USSR varied Performances of his music were banned from around 1933 until 1962 the year Khrushchev invited him to the USSR for an official visit In 1972 an official proclamation by the Soviet Minister of Culture Yekaterina Furtseva ordered Soviet musicians to study and admire Stravinsky s music and she made hostility toward it a potential offence 235 236 White writes that the attention given to the composer s first three ballets undermined the importance of his later works and that works like Les noces the Symphony of Psalms and Persephone represent the high water mark of his invention and form one of the most precious contributions to the musical treasury of the twentieth century 237 The conductor Michael Tilson Thomas said in a 2013 interview for NPR Stravinsky had insatiable curiosity about words about geography about just things that he encountered in his day to day life he was never going to stay still he was always going to move forward 238 Georg Predota s profile of Stravinsky for Interlude says regarding Stravinsky s vast styles he might well have represented the face of an entire century as his works touch almost every important trend and tendency the century had on offer 226 nbsp Stravinsky with Wilhelm Furtwangler German conductor and composer Stravinsky was noted for his distinctive use of rhythm especially in The Rite of Spring 239 According to Glass the idea of pushing the rhythms across the bar lines led the way for the rhythmic structure of music to become much more fluid and in a certain way spontaneous 240 Glass also noted Stravinsky s primitive offbeat rhythmic drive 225 Andrew J Browne wrote Stravinsky is perhaps the only composer who has raised rhythm in itself to the dignity of art 241 Over the course of his career Stravinsky called for a wide variety of orchestral instrumental and vocal forces ranging from single instruments in such works as Three Pieces for Solo Clarinet 1918 or Elegy for Solo Viola 1944 to the enormous orchestra of The Rite of Spring 1913 which Copland characterised as the foremost orchestral achievement of the 20th century 242 Stravinsky influenced many composers and musicians 243 George Benjamin wrote in The Guardian that Since 1913 generation after generation of composers from Varese to Boulez Bartok to Ligeti has felt impelled to face the challenges set by The Rite of Spring 1 while Walsh wrote For younger composers of almost every persuasion his work has continued to offer inspiration and a source of method 244 Stravinsky s rhythm and vitality greatly influenced Aaron Copland and Pierre Boulez the latter who Stravinsky had worked with on Threni 245 246 243 Stravinsky s combination of folklore and modernism influenced the works and style of Bela Bartok as well 247 Stravinsky also influenced composers like Elliott Carter Harrison Birtwistle and John Tavener 243 Included among his students are Robert Craft Robert Strassburg and Warren Zevon 248 249 Honours editStravinsky received the Royal Philharmonic Society s gold medal in 1954 250 the Leonie Sonning Music Prize in 1959 251 and the Wihuri Sibelius Prize in 1963 252 On 25 July 1966 he was awarded the Portuguese Military Order of Saint James of the Sword 253 In 1977 the Sacrificial Dance from The Rite of Spring was included among many tracks around the world on the Voyager Golden Record 254 In 1982 the composer was featured on a 2 postage stamp by the United States Postal Service as part of its Great Americans stamp series 255 He received a star on the Hollywood Walk of Fame in 1960 256 and was posthumously inducted into the National Museum of Dance and Hall of Fame in 2004 257 A number of major works were dedicated to Stravinsky including En blanc et noir by Claude Debussy Trois poemes de Mallarme by Maurice Ravel 258 and the revised version of La tragedie de Salome by Florent Schmitt 259 The composer received five Grammy Awards and eleven total nominations 260 Three records of his works were inducted into the Grammy Hall of Fame in 1993 1999 and 2000 and he was posthumously awarded the Grammy Lifetime Achievement Award in 1987 261 262 263 Recordings editFurther information Igor Stravinsky discography Stravinsky found recordings a practical and useful tool in preserving his thoughts on the interpretation of his music As a conductor of his own music he recorded primarily for Columbia Records beginning in 1928 with a performance of the original suite from The Firebird and concluding in 1967 with the 1945 suite from the same ballet 263 In the late 1940s he made several recordings for RCA Victor at the Republic Studios in Los Angeles 264 Although most of his recordings were made with studio musicians he also worked with the Chicago Symphony Orchestra the Cleveland Orchestra the CBC Symphony Orchestra the New York Philharmonic the Royal Philharmonic Orchestra and the Bavarian Radio Symphony Orchestra 264 During his lifetime Stravinsky appeared on several telecasts including the 1962 world premiere of The Flood on CBS Television Although he made an appearance the actual performance was conducted by Craft 265 Numerous films and videos of the composer have been preserved including the 1966 award winning National Film Board of Canada documentary Stravinsky directed by Roman Kroitor and Wolf Koenig in which he conducts the CBC Symphony Orchestra in a recording of the Symphony of Psalms 266 Writings editStravinsky published a number of books throughout his career almost always with the aid of a sometimes uncredited collaborator In his 1936 autobiography Chronicle of My Life which was written with the help of Walter Nouvel Stravinsky included his well known statement that music is by its very nature essentially powerless to express anything at all 267 With Alexis Roland Manuel and Pierre Souvtchinsky he wrote his 1939 40 Harvard University Charles Eliot Norton Lectures which were delivered in French and first collected under the title Poetique musicale in 1942 and then translated in 1947 as Poetics of Music e In 1959 several interviews between the composer and Craft were published as Conversations with Igor Stravinsky 268 which was followed by a further five volumes over the following decade A collection of Stravinsky s writings and interviews appears under the title Confidences sur la musique 269 Books and articles are selected from Appendix E of Eric Walter White s Stravinsky The Composer and His Works and Stephen Walsh s profile of Stravinsky on Oxford Music Online 270 271 Books edit Stravinsky Igor 1936 Chronicle of My Life London Gollancz OCLC 1354065 Originally published in French as Chroniques de ma vie 2 vols Paris Denoel et Steele 1935 subsequently translated anonymously as Chronicle of My Life This edition reprinted as Igor Stravinsky An Autobiography with a preface by Eric Walter White London Calder and Boyars 1975 ISBN 978 0 7145 1063 7 0 7145 1082 3 Reprinted again as An Autobiography 1903 1934 London Boyars 1990 ISBN 978 0 7145 1063 7 0 7145 1082 3 Also published as Igor Stravinsky An Autobiography New York M amp J Steuer 1958 and An Autobiography New York W W Norton 1962 ISBN 978 0 393 00161 7 OCLC 311867794 1947 Poetics of Music in the Form of Six Lessons The Charles Eliot Norton Lectures for 1939 1940 Cambridge Massachusetts Harvard University Press ISBN 9780674678569 OCLC 155726113 Craft Robert 1959 Conversations with Igor Stravinsky Garden City New York Doubleday OCLC 896750 Reprinted Berkeley University of California Press 1980 ISBN 978 0 520 04040 3 1960 Memories and Commentaries Garden City New York Doubleday ISBN 9780520044029 Reprinted 1981 Berkeley and Los Angeles University of California Press ISBN 978 0 520 04402 9 The 2002 reprinted One Volume Edition varies from the 1960 original London Faber and Faber ISBN 978 0 571 21242 2 1962 Expositions and Developments London Faber and Faber ISBN 9780520044036 Reprinted Berkeley and Los Angeles University of California Press 1981 1963 Dialogues and a Diary Garden City New York Doubleday OCLC 896750 The 1968 reprinted Dialogues varies from the 1963 original London Faber and Faber ISBN 0 571 10043 0 1966 Themes and Episodes New York A A Knopf 1969 Retrospectives and Conclusions New York A A Knopf 1972 Themes and Conclusions London Faber and Faber A one volume edition of Themes and Episodes 1966 and Retrospectives and Conclusions 1969 as revised by Igor Stravinsky in 1971 ISBN 978 0 571 08308 4 Articles edit Stravinsky Igor 29 May 1913 Canudo Ricciotto ed Ce que j ai voulu exprimer dans Le sacre du printemps What I Wanted to Express in The Rite of Spring Montjoie in French No 2 At DICTECO 15 May 1921 Les Espagnols aux Ballets Russes The Spaniards at the Ballets Russes Comœdia in French At DICTECO 18 October 1921 The Genius of Tchaikovsky The Times Open Letter to Letter to Diaghilev London 18 May 1922 Une lettre de Stravinsky sur Tchaikovsky A Letter from Stravinsky on Tchaikovsky Le Figaro in French At DICTECO 1924 Some Ideas about my Octuor The Arts Brooklyn At SCRIBD 1927 Avertissement a Warning The Dominant London 29 April 1934 Igor Strawinsky nous parle de Persephone Igor Stravinsky tells us about Persephone Excelsior fr in French At DICTECO 15 December 1935 Quelques confidences sur la musique Some secrets about music Conferencia in French Paris At DICTECO Nouvel Walter 1935 1936 Chroniques de ma vie in French Paris Denoel amp Steele OCLC 250259515 Translated in English 1936 as An Autobiography 28 January 1936 Ma candidature a l Institut My application to the Institute Jour in French Paris 1940 Pushkin Poetry and Music New York OCLC 1175989080 a href Template Cite book html title Template Cite book cite book a CS1 maint location missing publisher link Nouvel Walter 1953 The Diaghilev I Knew The Atlantic Monthly pp 33 36 References editNotes edit Pronunciation s t r e ˈ v ɪ n s k i Russian Igor Fyodorovich Stravinskij IPA ˈiɡerʲ ˈfʲɵderevʲɪtɕ strɐˈvʲinskʲɪj See Sacrificial Dance from The Rite of Spring audio animated score on YouTube Boston Symphony Orchestra Michael Tilson Thomas conducting 1972 According to Michael Steinberg s liner notes to Stravinsky in America RCA 09026 68865 2 p 7 the police removed the parts from Symphony Hall quoted in Thom 2007 p 50 See Table I Folk and Popular Tunes in Petrushka Taruskin 1996 pp I 696 697 The names of uncredited collaborators are given in Walsh 2001 Citations edit a b Benjamin 2013 Greene 1985 p 1101 White 1979 pp 19 21 a b Walsh 2002 Vlad 1967 p 3 Walsh 2001 1 Background and early years 1882 1905 Pisalnik 2012 Stravinsky amp Craft 1960 pp 6 17 White 1979 p 21 Stravinsky 1962 p 8 a b Dubal 2003 p 564 White 1979 pp 23 24 a b c Dubal 2003 p 565 White 1979 p 25 Walsh 2002 p 83 Walsh 2001 2 Towards The Firebird 1902 09 Stravinsky 1962 p 24 Walsh 2015 a b White 1979 p 22 White 1979 p 28 Anonymous n d c a b White 1979 p 29 Anonymous n d d Sadie amp Sadie 2005 p 359 Sadie amp Sadie 2005 p 360 Anonymous n d e White 1979 pp 32 33 White 1979 pp 189 190 Walsh 2002 pp 140 143 Whiting 2005 p 30 Walsh 2002 p 145 a b c d White 1979 p 51 a b White 1979 pp 35 36 White 1979 p 37 a b Stravinsky 1962 p 31 Service 2013 Hewett 2013 V Stravinsky amp Craft 1978 pp 100 102 V Stravinsky amp Craft 1978 pp 111 114 Walsh 2002 p 224 a b V Stravinsky amp Craft 1978 p 119 Walsh 2002 p 221 V Stravinsky amp Craft 1978 p 113 V Stravinsky amp Craft 1978 p 120 Walsh 2002 p 233 Oliver 1995 p 74 V Stravinsky amp Craft 1978 pp 136 137 White 1979 p 56 V Stravinsky amp Craft 1978 p 469 White 1979 p 65 a b c d Keller 2011 p 456 White 1979 pp 66 67 Stravinsky 1962 p 83 White 1979 p 70 Anonymous n d a Walsh 2002 p 313 Walsh 2002 p 315 Stravinsky 1962 pp 84 86 Walsh 2002 p 318 Walsh 2002 p 319 and fn 21 White 1979 p 78 White 1979 p 619 Anonymous n d f Lawson 1986 pp 297 301 Walsh 2002 p 336 Kay n d Walsh 2002 p 329 White 1979 p 77 Cooper 2000 p 306 Joseph 2001 p 73 a b Traut 2016 p 8 Craft 1992 pp 73 81 Walsh 2002 p 193 Stravinsky amp Craft 1960 p 51 White 1979 pp 85 86 White 1979 p 87 Fontelles Ramonet 2021 White 1979 pp 87 88 Anonymous n d g a b White 1979 pp 89 90 a b c Steinberg 2005 p 270 White 1979 pp 90 91 White 1979 pp 91 a b White 1979 p 92 a b White 1979 p 98 White 1979 pp 98 100 White 1979 pp 103 104 a b Routh 1975 p 41 White 1979 p 105 Routh 1975 p 43 Walsh 2006 p 29 a b Whiting 2005 p 38 Stravinsky amp Craft 1960 p 18 Joseph 2001 p 279 Routh 1975 p 44 Walsh 2006 p 595 White 1979 p 115 White 1979 p 116 a b Holland 2001 Braubach 2009 Routh 1975 p 46 a b Routh 1975 p 47 Anonymous n d i Walsh 2006 p 152 White 1979 p 429 a b Walsh 2006 p 185 White 1979 p 124 Walsh 2006 p 201 Walsh 2006 p 190 Walsh 2006 p 188 Whiting 2005 pp 39 40 White 1979 p 131 Quoted in Walsh 2006 pp 419 White 1979 p 133 Whiting 2005 p 40 a b c Straus 2001 p 4 a b Routh 1975 pp 56 57 White 1979 p 136 White 1979 p 137 White 1979 p 504 White 1979 pp 138 139 Cunningham 2012 Anonymous 2022 Anonymous 1962a Anonymous 1962b White 1979 pp 146 148 Anonymous 1962c Walsh 2006 p 476 a b Walsh 2006 p 488 Walsh 2006 p 501 Walsh 2006 pp 503 504 Whiting 2005 p 41 Anonymous 2021 a b Walsh 2006 p 528 Walsh 2006 p 528 529 White 1979 p 154 Walsh 2006 p 532 White 1979 p 155 Walsh 2006 pp 542 543 Walsh 2006 p 544 Walsh 2006 p 550 a b Henahan 1971 White 1979 p 158 Walsh 2006 p 560 Walsh 2006 p 561 a b Anonymous 1971 White 1979 p 159 Rolls Press amp Popperfoto 1971 Collarile 2021 p 104 a b c d White amp Noble 1980 p 240 a b c d Walsh 2003 p 10 a b c White amp Noble 1980 p 248 a b White amp Noble 1980 p 253 a b Walsh 2003 p 1 a b c White amp Noble 1980 p 259 Walsh 2003 pp 3 4 Taruskin 1996 p I 100 Walsh 2003 p 4 White 1979 p 9 a b White 1979 p 10 Walsh 2003 p 5 White 1979 p 12 White 1979 pp 15 16 McFarland 1994 pp 205 219 McFarland 1994 p 209 McFarland 1994 p 219 quoting Stravinsky amp Craft 1962 p 128 Taruskin 1996 p I 662 Taruskin 1996 p I 698 a b White 1957 p 61 Hill 2000 p 86 Hill 2000 p 63 Ross 2008 p 75 Grout amp Palisca 1981 p 713 V Stravinsky amp Craft 1978 p 149 White 1979 p 563 White amp Noble 1980 p 249 V Stravinsky amp Craft 1978 p 145 a b White 1979 p 240 Walsh 2003 p 16 a b White amp Noble 1980 p 250 V Stravinsky amp Craft 1978 p 144 Zak 1985 p 105 Walsh 2001 4 Exile in Switzerland 1914 20 White 1979 p 62 V Stravinsky amp Craft 1978 p 183 a b White amp Noble 1980 p 251 Freed 1981 a b V Stravinsky amp Craft 1978 p 218 Lowe 2016 Taruskin 1992a pp 651 652 a b Szabo 2011 pp 19 22 Szabo 2011 p 39 Szabo 2011 p 23 Szabo 2011 p 1 White amp Noble 1980 p 256 Taruskin 1992b pp 1222 1223 White amp Noble 1980 p 257 Taruskin 1992b p 1220 Craft 1982 a b c d e White amp Noble 1980 p 261 Straus 1999 p 67 White amp Noble 1980 pp 261 262 White 1979 p 539 White 1979 p 134 a b Predota 2021b Taruskin 1980 pp 501 Taruskin 1996 p 558 559 Zak 1985 p 103 Taruskin 1980 pp 502 White 1979 p 359 360 Steinberg 2005 p 268 Zinar 1978 pp 177 White 1979 p 375 White 1979 p 376 377 White 1979 p 451 452 Stravinsky amp Craft 1960 p 146 a b c Anonymous n d y White 1979 p 560 561 White 1979 p 32 Nandlal 2017 pp 81 82 Stravinsky amp Craft 1959 p 117 Anonymous n d j Nandlal 2017 pp 81 Stravinsky amp Craft 1959 pp 116 117 a b c Glass 1998 a b Predota 2021a Lamb 2019 a b Anonymous 1999 White 1997 p 7 Walsh 2003 p 49 Blitzstein 1935 p 330 Lambert 1934 p 94 Lambert 1934 pp 101 105 Satie 1923 Karlinsky 1985 p 282 Norris 1976 pp 39 40 White 1997 p 171 Siegel amp Tilson Thomas 2013 Simon amp Alsop 2007 Simeone Craft amp Glass 1999 Browne 1930 p 360 Copland 1952 p 37 a b c Cross 1998 p 6 Walsh 2003 p 50 Matthews 1970 1971 p 11 Schiff 1995 Taruskin 1998 Pfitzinger 2017 p 17 Plasketes 2016 pp 6 7 Anonymous n d k Anonymous n d l Anonymous n d m Anonymous n d n Anonymous n d o Anonymous n d p Anonymous n d q Anonymous n d r Anonymous n d s Pasler 2001 p 543 Anonymous n d t Anonymous n d u Anonymous n d v a b Anonymous n d w a b Boretz amp Cone 1968 pp 268 288 Cross n d Anonymous n d x Stravinsky 1936 pp 91 92 Stravinsky amp Craft 1959 Stravinsky amp Dufour 2013 White 1979 pp 621 624 Walsh 2001 Writings Sources edit Anonymous 19 January 1962a Kennedy Entertains Igor Stravinsky at Dinner The New York Times p 6 Retrieved 22 March 2023 Facsimile Shortened at Stravinsky to Be Kennedy Guest at White House Herald amp Review Decatur Illinois 10 January 1962 Archived from the original on 2 August 2020 Anonymous 16 January 1962b Stravinsky to Get Medal at Dinner The Terre Haute Star Washington p 1 Archived from the original on 1 August 2020 Retrieved 6 April 2023 Anonymous 21 September 1962c Stravinsky in Russia after 52 years away The Evening Sun Baltimore p 3 Archived from the original on 2 August 2020 Retrieved 6 April 2023 Anonymous 16 April 1971 Stravinsky Is Interred in Venice Near Grave of Friend Diaghilev The New York Times p 40 Archived from the original on 12 April 2022 Retrieved 6 April 2023 Anonymous 14 June 1999 TIME 100 Persons Of The Century Time Retrieved 23 June 2023 Anonymous March 2021 Stravinsky Anniversary Two Sketches for a Sonata published Boosey amp Hawkes Retrieved 24 June 2023 Anonymous 9 May 2022 Stravinsky conducts Stravinsky in Australia in 1961 ABC Classic Australian Broadcasting Corporation Archived from the original on 6 August 2022 Retrieved 6 April 2023 Anonymous n d a Stravinsky Histoire du Soldat Suite NAXOS Direct Archived from the original on 1 March 2014 Anonymous n d c Ustiluzkij narodnij muzej Igorya Stravinskogo Ustilug Folk Museum of Igor Stravinsky Museums of the Volyn in Ukrainian Archived from the original on 11 October 2016 Anonymous n d d A virtual tour of the house museum of Igor Stravinsky in Ustilug House Museum of Igor Stravinsky in Ustilug in Ukrainian Archived from the original on 8 August 2020 Anonymous n d e International Music Festival Stravinsky and Ukraine Lutsk Archived from the original on 25 January 2018 Anonymous n d f Composers and the Pianola Igor Stravinsky The Pianola Institute Archived from the original on 9 February 2014 Retrieved 6 April 2023 Anonymous n d g Concert details RL Copied Thursday January 8 1925 at 8 30 PM Carnegie Hall Retrieved 6 April 2023 Anonymous n d i Mass Gen Laws ch 249 9 Archived from the original on 20 November 2011 Anonymous n d j Stravinsky and Picasso how two cultural giants became collaborators Classic FM The Sunday Times Retrieved 6 April 2023 Anonymous n d k RPS Gold Medal Royal Philharmonic Society Retrieved 6 April 2023 Anonymous n d l The Leonie Sonning Music Prize 2022 Royal Danish Theatre Retrieved 6 April 2023 Anonymous n d m Wihuri Sibelius Price Jenny and Antti Wihuri Foundation Retrieved 6 April 2023 Anonymous n d n Cidadaos Estrangeiros Agraciados com Ordens Portuguesas Pagina Oficial das Ordens Honorificas Portuguesas in Portuguese Retrieved 6 April 2023 Anonymous n d o Music from Earth Jet Propulsion Laboratory NASA Retrieved 6 April 2023 Anonymous n d p 2c Igor Stravinsky Single National Postal Museum Smithsonian Retrieved 6 April 2023 Anonymous n d q Igor Stravinsky Hollywood Walk of Fame Retrieved 6 April 2023 Anonymous n d r Hall of Fame National Museum of Dance and Hall of Fame Retrieved 6 April 2023 Anonymous n d s As dedicatee Igor Stravinsky IMSLP Retrieved 6 April 2023 Anonymous n d t Igor Stravinsky Grammy Awards Retrieved 6 April 2023 Anonymous n d u Lifetime Achievement Award Grammy Awards Retrieved 6 April 2023 Anonymous n d v Grammy Hall of Fame Award Grammy Awards Retrieved 6 April 2023 Anonymous n d w Miniature masterpieces Fondation Igor Stravinsky Archived from the original on 26 July 2011 Anonymous n d x Stravinsky National Film Board of Canada Retrieved 6 April 2023 Anonymous n d y Igor Stravinsky British Library Retrieved 23 June 2023 Benjamin George 29 May 2013 How Stravinsky s Rite of Spring has shaped 100 years of music The Guardian Retrieved 15 April 2023 Blitzstein Marc July 1935 The Phenomenon of Stravinsky The Musical Quarterly 75 4 51 69 doi 10 1093 mq 75 4 51 ISSN 0027 4631 JSTOR 741833 Boretz Benjamin Cone Edward T 1968 Igor Stravinsky A Discography of the Composer s Performances Perspectives on Schoenberg and Stravinsky Princeton Princeton University Press ISBN 978 1 4008 7843 7 Braubach Mary Ann 2009 Huxley on Huxley documentary Browne Andrew J October 1930 Aspects of Stravinsky s Work Music amp Letters Oxford University Press 11 4 360 366 doi 10 1093 ml XI 4 360 ISSN 0027 4224 JSTOR 726868 Cooper John Xiros 2000 T S Eliot s Orchestra Critical Essays on Poetry and Music New York Garland ISBN 978 0 8153 2577 2 Copland Aaron 1952 Music and Imagination Cambridge Harvard University Press ISBN 978 0 674 58915 5 Craft Robert December 1982 Assisting Stravinsky On a misunderstood collaboration The Atlantic pp 64 74 Retrieved 6 April 2023 Craft Robert 1992 Stravinsky Glimpses of a Life London Lime Tree ISBN 978 0 413 45461 4 Cross Jonathan n d Stravinsky Igor The Flood Work details and repertoire note Boosey amp Hawkes Archived from the original on 24 November 2011 Retrieved 7 April 2023 Cross Jonathan 1998 The Stravinsky Legacy Cambridge Cambridge University Press ISBN 978 0 521 56365 9 Collarile Luigi 2021 Andrea Gabrieli for Igor Stravinsky Venice 15 April 1971 The Choice of Sandro Dalla Libera Archival Notes 6 101 110 ISSN 2499 832X Retrieved 6 April 2023 Cunningham Harriet 25 February 2012 Echoes of greatness The Sydney Morning Herald Archived from the original on 6 August 2022 Retrieved 6 April 2023 Dubal David 24 October 2003 The Essential Canon of Classical Music New York North Point Press ISBN 978 0 86547 664 6 Freed Richard 26 July 1981 The Pergolesi Puzzle The Washington Post Archived from the original on 27 August 2017 Retrieved 13 April 2023 Fontelles Ramonet Albert 2021 Igor Stravinsky a Barcelona escandols i triomfs entre concerts i lleure Igor Stravinsky in Barcelona scandals and triumphs between concerts and leisure Revista Musical Catalana in Catalan 373 30 34 ISSN 1887 2980 Glass Philip 8 June 1998 The Classical Musician Igor Stravinsky Time Archived from the original on 5 June 2022 Retrieved 6 April 2023 Greene David Mason 1985 Petrak Albert M ed Greene s Biographical Encyclopedia of Composers Reproducing Piano Roll Fnd ISBN 978 0 385 14278 6 Grout Donald Jay Palisca Claude V 1981 A History of Western Music 3rd ed London and Melbourne J M Dent amp Sons ISBN 978 0 460 04546 9 Henahan Donal 7 April 1971 Igor Stravinsky the Composer Dead at 88 The New York Times p 1 Archived from the original on 28 September 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September 1976 Review of I F Stravinsky Stat i i Materialy Tempo Cambridge University Press 118 39 40 ISSN 0040 2982 JSTOR 944233 Oliver Michael 1995 Igor Stravinsky London Phaidon Press ISBN 978 0 7148 3158 9 Pasler Jann 2001 Schmitt Florent In Sadie Stanley ed The New Grove Dictionary of Music and Musicians London Macmillan Publishers ISBN 978 1 56159 239 5 Pfitzinger Scott 2017 Composer Genealogies A Compendium of Composers Their Teachers and Their Students Lanham MD Rowman amp Littlefield ISBN 978 1 4422 7225 5 Pisalnik Andrzej 10 November 2012 Polski pomnik za cerkiewnym murem Rzeczpospolita in Polish Archived from the original on 10 September 2015 Plasketes George 2 June 2016 Warren Zevon Desperado of Los Angeles Lanham MD Rowman amp Littlefield ISBN 978 1 4422 3457 4 Predota Georg 3 March 2021 Igor Stravinsky Interlude Retrieved 15 April 2023 Predota Georg 17 March 2021 Stravinsky s Literary Sources Interlude Retrieved 23 June 2023 Routh Francis 1975 Stravinsky London J M Dent amp Sons ISBN 978 0 460 03138 7 Rolls Press Popperfoto 20 April 1971 Funeral of Igor Stravinsky Getty Images Archived from the original on 12 March 2023 Retrieved 6 April 2023 Ross Alex 2008 The Rest Is Noise London Fourth Estate ISBN 978 1 84115 475 6 Sadie Julie Anne Sadie Stanley 2005 Calling on the Composer A Guide to European Composer Houses and Museums New Haven Yale University Press p 360 ISBN 978 0 300 18394 8 Satie Erik February 1923 Igor Stravinsky A Tribute to the Great Russian Composer by an Eminent French Confrere Vanity Fair pp 39 88 Retrieved 6 April 2023 Schiff David September 1995 Unreconstructed Modernist The Atlantic Retrieved 1 June 2023 Service Tom 12 February 2013 The Rite of Spring The work of a madman The Guardian Archived from the original on 24 March 2023 Retrieved 6 April 2023 Siegel Robert Tilson Thomas Michael 29 May 2013 100 Years After The Riot The Rite Remains All Things Considered National Public Radio Retrieved 15 April 2023 Simeone Lisa Craft Robert Glass Philip 1999 Igor Stravinsky Performance Today Milestones of the Millenium National Public Radio Archived from the original on 2 April 2019 Retrieved 6 April 2023 Simon Scott Alsop Marin 24 March 2007 The Primitive Pulse of Stravinsky s Rite of Spring Weekend Edition National Public Radio Retrieved 4 April 2023 Steinberg Michael 22 April 2005 Stravinsky Mass Choral Masterworks A Listener s Guide Oxford Oxford University Press pp 269 273 ISBN 978 0 19 802921 2 Straus Joseph N April 1999 Stravinsky s Construction of Twelve Verticals An Aspect of Harmony in the Serial Music Music Theory Spectrum 21 1 43 73 doi 10 2307 745920 JSTOR 745920 Straus Joseph N 2001 Stravinsky s Late Music Cambridge Studies in Music Theory and Analysis 16 New York Cambridge University Press ISBN 978 0 521 80220 8 Stravinsky Igor Dufour Valerie 2013 Confidences sur la musique propos recueillis 1912 1939 Arles Actes Sud ISBN 978 2 330 01620 3 Stravinsky Vera Craft Robert 1978 Stravinsky in Pictures and Documents New York Simon and Schuster ISBN 978 0 09 138000 7 Szabo Kyle 2011 The evolution of style in the neoclassical works of Stravinsky Dissertation thesis James Madison University Retrieved 4 April 2023 Taruskin Richard Autumn 1980 Russian Folk Melodies in The Rite of Spring Journal of the American Musicological Society University of California Press 33 3 501 543 doi 10 2307 831304 ISSN 0003 0139 JSTOR 831304 Taruskin Richard 1992a Oepidus rex In Sadie Stanley ed The New Grove Dictionary of Opera Vol 3 New York Macmillian Press pp 650 652 ISBN 978 0 935859 92 8 Taruskin Richard 1992b The Rake s Progress In Sadie Stanley ed The New Grove Dictionary of Opera Vol 3 New York Macmillian Press pp 1220 1223 ISBN 978 0 935859 92 8 Taruskin Richard 1996 Stravinsky and the Russian Traditions A Biography of the Works Through Mavra Berkeley University of California Press ISBN 978 0 520 07099 8 Taruskin Richard 25 October 1998 Bartok and Stravinsky Odd Couple Reunited The New York Times p 33 Retrieved 1 June 2023 Thom Paul 2007 The Musician as Interpreter Studies of the Greater Philadelphia Philosophy Consortium University Park Pennsylvania State University Press ISBN 978 0 271 03199 6 Traut Donald G 2016 Stravinsky s Great Passacaglia Recurring Elements in the Concerto for Piano and Wind Instruments Rochester NY Boydell amp Brewer ISBN 978 1 580 46513 7 Vlad Roman 1967 Stravinsky London Oxford University Press Walsh Stephen 20 January 2001 Stravinsky Igor Oxford Music Online Oxford University Press doi 10 1093 gmo 9781561592630 article 52818 Walsh Stephen 2002 Stravinsky A Creative Spring Russia and France 1882 1934 First paperback printing ed Berkeley University of California Press ISBN 978 0 520 22749 1 Walsh Stephen 2003 The New Grove Stravinsky London Macmillian Publishers ISBN 978 0 333 80409 4 Walsh Stephen 2006 Stravinsky The Second Exile France and America 1934 1971 Berkeley University of California Press ISBN 978 0 520 25615 6 Walsh Stephen 5 September 2015 Key Igor Stravinsky work found after 100 years The Observer Archived from the original on 20 May 2020 Retrieved 4 April 2023 White Eric Walter 1957 Stravinsky In Hartog Howard ed European Music in the Twentieth Century London Pelican Books White Eric Walter 1979 Stravinsky The Composer and his Works 2nd ed Berkeley University of California Press ISBN 978 0 520 03983 4 White Eric Walter 1997 Stravinsky A Critical Survey 1882 1946 Mineola Dover Publications ISBN 978 0 486 29755 2 White Eric Walter Noble Jeremy 1980 Stravinsky Igor In Sadie Stanley ed The New Grove Dictionary of Music and Musicians Vol 18 London Macmillan Publishers pp 240 265 ISBN 978 0 333 23111 1 Whiting Jim 2005 The Life and Times of Igor Stravinsky Hockessin Mitchell Lane Publishers ISBN 978 1 584 15277 4 Zak Rose A 1985 L Histoire du soldat Approaching the Musical Text Mosaic An Interdisciplinary Critical Journal 18 4 101 107 ISSN 0027 1276 JSTOR 24778812 Zinar Ruth Fall 1978 Stravinsky and His Latin Texts College Music Symposium College Music Society 18 2 176 188 ISSN 0069 5696 JSTOR 40373983 Further reading editCraft Robert 1972 Stravinsky Chronicle of a Friendship 1948 1971 1st ed New York Alfred A Knopf ISBN 978 0 394 47612 4 Joseph Charles M 2002 Stravinsky and Balanchine A Journey of Invention New Haven Yale University Press ISBN 978 0 300 08712 3 Lehrer Jonah 2007 Igor Stravinsky and the Source of Music Proust Was a Neuroscientist Boston Houghton Mifflin Harcourt ISBN 978 0 618 62010 4 Libman Lillian 1972 And Music at the Close Stravinsky s Last Years 1st ed United States W W Norton amp Company ISBN 978 0 393 02113 4 Taruskin Richard Craft Robert 15 June 1989 Jews and Geniuses An Exchange The New York Review of Books Vol 36 no 10 Retrieved 4 April 2023 Stravinsky Igor 1982 Craft Robert ed Stravinsky Selected Correspondence Vol 1 New York Alfred A Knopf ISBN 978 0 394 51870 1 External links editFree scores by Igor Stravinsky at the International Music Score Library Project IMSLP The Stravinsky Foundation website Discovering Stravinsky BBC Radio 3 Works by or about Igor Stravinsky at Internet Archive Igor Stravinsky discography at Discogs nbsp Portals nbsp Biography nbsp Classical music nbsp Music nbsp Opera nbsp RussiaIgor Stravinsky at Wikipedia s sister projects nbsp Media from Commons nbsp Quotations from Wikiquote nbsp Texts from Wikisource nbsp Data from Wikidata Retrieved from https en wikipedia org w index php title Igor Stravinsky amp oldid 1185793762, wikipedia, wiki, book, books, library,

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