Editing Igor Stravinsky (section)

== Life ==
=== Early life in Russia, 1882–1901 ===
[[File:Sulima herb.svg|thumb|Arms of the Polish [[Sulima (coat of arms)|Soulima family]], from which Stravinsky's family descended]]
Igor Fyodorovich Stravinsky was born in Oranienbaum, Russia—a town later renamed [[Lomonosov, Russia|Lomonosov]], about thirty miles (fifty kilometers) west of [[Saint Petersburg]]—on {{OldStyleDate|17 June|1882|5 June}}.{{Sfn|Walsh|1999|p=3}}{{Sfn|Walsh|2001}} His mother, Anna Kirillovna Stravinskaya{{Efn|By Eastern Slavic naming customs, the male form ''Stravinsky'' corresponds to the female form ''Stravinskaya.''}} (née Kholodovskaya), was an amateur singer and pianist from an established family of landowners.{{Sfn|Walsh|1999|p=6}}{{Sfn|Walsh|2001|loc=1. Background and early years, 1882–1905}} His father, [[Fyodor Stravinsky|Fyodor Ignatyevich Stravinsky]], was a famous [[Bass (voice type)|bass]] at the [[Mariinsky Theatre]] in Saint Petersburg, descended from a line of Polish landowners.{{Sfn|Walsh|2001|loc=1. Background and early years, 1882–1905}}{{Sfn|White|1979|p=19}} The name "Stravinsky" is of Polish origin, deriving from the [[Strėva|Strava]] river in the [[Polish-Lithuanian Commonwealth]]. The family was originally called "Soulima-Stravinsky", bearing the Soulima arms, but "Soulima" was dropped after Russia's annexation during the [[partitions of Poland]].{{Sfn|Walsh|1999|loc=6–7}}{{Sfn|Stravinsky|Craft|1960|p=17}}

Oranienbaum, the composer's birthplace, was where his family vacationed during summers;{{Sfn|Stravinsky|Craft|1960|p=19}}{{Sfn|White|1997|p=13}} their primary residence was an apartment along the [[Kryukov Canal]] in central Saint Petersburg, near the Mariinsky Theatre. Stravinsky was baptized hours after birth and joined to the [[Russian Orthodox Church]] in [[St. Nicholas Naval Cathedral|St. Nicholas Cathedral]].{{Sfn|White|1979|p=19}} Constantly in fear of his short-tempered father and indifferent towards his mother, Igor lived there for the first 27 years of his life with three siblings: Roman and Yury, his older siblings who irritated him immensely, and Gury, his close younger brother with whom he said he found "the love and understanding denied us by our parents".{{Sfn|White|1979|p=19}}{{Sfn|Stravinsky|Craft|1960|pp=20–21}} Igor was educated by the family's [[governess]] until age eleven, when he began attending the [[Second Saint Petersburg Gymnasium]], a school he recalled hating because he had few friends.{{Sfn|Walsh|1999|p=17}}{{Sfn|Walsh|1999|p=25}}

From age nine, Stravinsky studied privately with a piano teacher.{{Sfn|Walsh|1999|p=26}} He later wrote that his parents saw no musical talent in him due to his lack of technical skills;{{Sfn|Stravinsky|Craft|1960|pp=21–22}} the young pianist frequently improvised instead of practicing assigned pieces.{{Sfn|Stravinsky|1936|p=5}} Stravinsky's excellent [[sight-reading]] skill prompted him to frequently read vocal scores from his father's vast personal library.{{Sfn|Walsh|2001|loc=1. Background and early years, 1882–1905}}{{Sfn|Stravinsky|1936|pp=5–6}} At around age ten, he began regularly attending performances at the Mariinsky Theatre, where he was introduced to Russian repertoire as well as Italian and French opera;{{Sfn|Walsh|1999|pp=27–29}} by sixteen, he attended rehearsals at the theater five or six days a week.{{Sfn|Walsh|1999|p=24}} By age fourteen, Stravinsky had mastered the solo part of [[Mendelssohn]]'s [[Piano Concerto No. 1 (Mendelssohn)|Piano Concerto No. 1]], and at age fifteen, he transcribed for solo piano a string quartet by [[Alexander Glazunov]].{{Sfn|Dubal|2003|p=564}}{{Sfn|White|1979|p=24}}

=== Higher education, 1901–1909 ===
==== Student compositions ====
[[File:Rimsky-Korsakov_Serow_crop.png|alt=Painting of Rimsky-Korsakov wearing glasses, looking left|thumb|[[Nikolai Rimsky-Korsakov]], painted by [[Valentin Serov]] in 1898]]
Despite his musical passion and ability, Stravinsky's parents expected him to study law at the [[University of Saint Petersburg]], and he enrolled there in 1901. However, according to his own account, he was a bad student and attended few of the optional lectures.{{Sfn|Dubal|2003|p=565}}{{Sfn|Stravinsky|Craft|1960|p=27}} In exchange for agreeing to attend law school, his parents allowed for lessons in [[harmony]] and [[counterpoint]].{{Sfn|Walsh|2001|loc=2. Towards 'The Firebird', 1902–09}} At university, Stravinsky befriended Vladimir Rimsky-Korsakov, son of the leading Russian composer [[Nikolai Rimsky-Korsakov]].{{Efn|In his 1936 autobiography, Stravinsky described his admiration for Rimsky-Korsakov and [[Alexander Glazunov]], both leading figures of Russian music at the time: "I was specially drawn to [Rimsky-Korsakov] by his melodic and harmonic inspiration, which then seemed to me full of freshness; to [Glazunov] by his feeling for symphonic form; and to both by their scholarly workmanship. I need hardly stress how much I longed to attain this ideal of perfection in which I really saw the highest degree of art; and with all the feeble means at my disposal I assiduously strove to imitate them in my attempts at composition."{{sfn|Stravinsky|1936|p=11}}{{sfn|White|1997|p=14}}}} During summer vacation of 1902, Stravinsky traveled with Vladimir Rimsky-Korsakov to [[Heidelberg]] – where the latter's family was staying – bringing a portfolio of pieces to demonstrate to Nikolai Rimsky-Korsakov. While the elder composer was not stunned, he was impressed enough to insist that Stravinsky continue lessons but advised against him entering the [[Saint Petersburg Conservatory]] due to its rigorous environment. Importantly, Rimsky-Korsakov agreed personally to advise Stravinsky on his compositions.{{Sfn|Walsh|2001|loc=2. Towards 'The Firebird', 1902–09}}{{Sfn|White|1997|p=15}}

After Stravinsky's father died in 1902 and the young composer became more independent, he became increasingly involved in Rimsky-Korsakov's circle of artists.{{Sfn|White|1979|p=26}}{{Sfn|White|1997|p=16}} His first major task from his new teacher was the four-movement [[Piano Sonata in F-sharp minor (Stravinsky)|Piano Sonata in F-sharp minor]] in the style of Glazunov and [[Tchaikovsky]] – he paused temporarily to write a [[cantata]] for Rimsky-Korsakov's 60th birthday celebration, which the elder composer described as "not bad". Soon after finishing the sonata, the student began his large-scale [[Symphony in E-flat (Stravinsky)|Symphony in E-flat]],{{Efn|The Symphony in E-flat was designated Opus 1, though Stravinsky's inconsistent use of Opus numbers makes them futile.{{sfn|White|1997|p=18}}{{sfn|White|1979|p=192}}}} the first draft of which he finished in 1905. That year, the dedicatee of the Piano Sonata, Nikolay Richter, performed it at a recital hosted by the Rimsky-Korsakovs, marking the first public premiere of a Stravinsky piece.{{Sfn|Walsh|2001|loc=2. Towards 'The Firebird', 1902–09}}

After the events of [[Bloody Sunday (1905)|Bloody Sunday]] in January 1905 caused the university to close, Stravinsky was not able to take his final exams, resulting in his graduation with a half-diploma. As he began spending more time in Rimsky-Korsakov's circle of artists, the young composer became increasingly cramped in the stylistically conservative atmosphere: modern music was questioned, and concerts of contemporary music were looked down upon. The group occasionally attended chamber concerts oriented to modern music, and while Rimsky-Korsakov and his colleague [[Anatoly Lyadov]] hated attending, Stravinsky remembered the concerts as intriguing and intellectually stimulating, being the first place he was exposed to French composers like [[César Franck|Franck]], [[Paul Dukas|Dukas]], [[Fauré]], and [[Debussy]].{{Sfn|Walsh|2001|loc=2. Towards 'The Firebird', 1902–09}}{{Sfn|Stravinsky|1936|pp=17–18, 20}} Nevertheless, Stravinsky remained loyal to Rimsky-Korsakov – the musicologist Eric Walter White suspected that the composer believed compliance with Rimsky-Korsakov was necessary to succeed in the Russian music world.{{Sfn|White|1997|p=16}} Stravinsky later wrote that his teachers' musical conservatism was justified, and helped him build the foundation that would become the base of his style.{{Sfn|Stravinsky|1936|p=20}}

==== First marriage ====
[[File:Katya_Stravinskaya_1907.jpg|alt=Woman wearing a white dress with her hair in a large bun|thumb|[[Yekaterina Stravinsky]] in 1907]]

In August 1905, Stravinsky announced his engagement to [[Yekaterina Nosenko]], his first cousin whom he had met in 1890 during a family trip.{{Sfn|Walsh|2001|loc=2. Towards 'The Firebird', 1902–09}} He later recalled:<blockquote>From our first hour together we both seemed to realize that we would one day marry—or so we told each other later. Perhaps we were always more like brother and sister. I was a deeply lonely child and I wanted a sister of my own. Catherine, who was my first cousin, came into my life as a kind of long-wanted sister{{nbsp}}... We were from then until her death extremely close, and closer than lovers sometimes are, for mere lovers may be strangers though they live and love together all their lives{{nbsp}}... Catherine was my dearest friend and playmate ... until we grew into our marriage.{{Sfn|Stravinsky|Craft|1962|pp=39–40}}</blockquote>The two had grown close during family trips, encouraging each other's interest in painting and drawing, swimming together often, going on wild raspberry picks, helping build a tennis court, playing [[piano duet]] music, and later organizing group readings with their other cousins of books and political tracts from Fyodor Stravinsky's personal library.{{sfn|Walsh|1999|pp=43–44, 47, 56}} In July 1901, Stravinsky expressed infatuation with Lyudmila Kuxina, Nosenko's best friend, but after the self-described "summer romance" had ended, Nosenko and Stravinsky's relationship began developing into a furtive romance.{{sfn|Walsh|1999|p=45}} Between their intermittent family visits, Nosenko studied painting at the [[Académie Colarossi]] in Paris.{{sfn|Strawinsky|Strawinsky|2004|p=64}} The two married on 24 January 1906, at the Church of the Annunciation five miles (eight kilometers) north of [[Saint Petersburg]] – because [[Cousin marriage|marriage between first cousins]] was banned, they procured a priest who did not ask their identities, and the only guests present were Rimsky-Korsakov's sons.{{sfn|Boucourechliev|1987|p=36}} The couple soon had two children: [[Théodore Strawinsky|Théodore]], born in 1907, and Ludmila, born the following year.{{Sfn|White|1979|p=29}}

After finishing the many revisions of the Symphony in E-flat in 1907, Stravinsky wrote ''Faun and Shepherdess'', a setting of three [[Pushkin]] poems for [[mezzo-soprano]] and orchestra.{{Sfn|White|1997|p=18}} Rimsky-Korsakov organized the first public premiere of his student's work with the Imperial Court Orchestra in April 1907, programming the Symphony in E-flat and ''Faun and Shepherdess''.{{Sfn|Walsh|2001|loc=2. Towards 'The Firebird', 1902–09}}{{Sfn|Stravinsky|Craft|1960|pp=58–59}} In 1908, he sent the score of ''[[Feu d'artifice]]'' to Rimsky-Korsakov. It was returned with the note: “Not delivered on account of death of addressee.”<ref name=Schonberg>{{cite news| last=Schonberg| first=Harold| author-link=Harold C. Schonberg| title=Igor Stravinsky: 'An Inventor of Music' Whose Works Created a Revolution| date=April 7, 1971| work=[[The New York Times]]| url=https://timesmachine.nytimes.com/timesmachine/1971/04/07/91278004.html?pageNumber=48}}</ref> Rimsky-Korsakov's death in June 1908 caused Stravinsky deep mourning, and he later recalled that ''[[Funeral Song (Stravinsky)|Funeral Song]]'', which he composed in memory of his teacher, was "the best of my works before ''The Firebird''".{{Sfn|Walsh|1999|p=114}}{{Sfn|Stravinsky|Craft|1960|p=59}}

=== International fame, 1909–1920 ===
==== Ballets for Diaghilev ====
[[File:Sergei Diaghilev 01.jpg|alt=Diaghilev bearing a mustache and hat|thumb|upright|Diaghilev in 1916]]
In 1898, the [[impresario]] [[Sergei Diaghilev]] founded the Russian art magazine ''[[Mir iskusstva]]'',{{Sfn|Bowlt|2020|pp=61–62}} but after it ended publication in 1904, he turned towards Paris for artistic opportunities rather than his native Russia.{{Sfn|White|1979|p=32}}{{Sfn|Garafola|1989|p=26}} In 1907, Diaghilev presented a five-concert series of Russian music at the [[Paris Opera]]; the following year, he staged the Paris premiere of Rimsky-Korsakov's version of ''[[Boris Godunov (opera)|Boris Godunov]]''.{{Sfn|White|1979|p=32}}{{Sfn|Bowlt|2020|pp=65–66}} Diaghilev attended the February 1909 premiere of two new Stravinsky works: ''[[Scherzo fantastique]]'' and ''[[Feu d'artifice]]'', both lively orchestral movements featuring bright orchestration and unique harmonic techniques.{{Sfn|Walsh|2001|loc=2. Towards 'The Firebird', 1902–09}}{{Sfn|Bowlt|2020|pp=61–62}} The vivid color and tone of Stravinsky's works intrigued Diaghilev, and the impresario subsequently commissioned Stravinsky to orchestrate music by [[Chopin]] for parts of the ballet {{Lang|fr|[[Les Sylphides]]}}''.{{Sfn|White|1997|p=23}}''{{Sfn|Walsh|1999|pp=122, 126}} This ballet was presented by Diaghilev's ballet company, the [[Ballets Russes]], in April 1909, and while the company scored successes with Parisian audiences, Stravinsky was working on Act I of his first opera ''[[The Nightingale (opera)|The Nightingale]]''.{{Sfn|White|1979|pp=32–33}}

As the Ballets Russes faced financial issues, Diaghilev wanted a new ballet with distinctly Russian music and design, something that had recently become popular with French and other Western audiences (likely due to the group of Russian classical composers known as [[The Five (composers)|The Five]], according to the musicologist [[Richard Taruskin]]); Diaghilev's company settled on the subject of the mythical [[Firebird (Slavic folklore)|Firebird]].{{Sfn|Taruskin|1996|pp=24, 556–559}}{{Sfn|Caddy|2020|p=79}} Diaghilev asked multiple composers to write the ballet's score, including Lyadov and [[Nikolai Tcherepnin]], but after none committed to the project,{{sfn|Taruskin|1996|pp=574–576}} the impresario turned to the 27-year-old Stravinsky, who gladly accepted the task.{{Sfn|White|1997|p=24}}{{Sfn|Walsh|1999|p=135}} During the ballet's production, Stravinsky became close with Diaghilev's artistic circle, who were impressed by his enthusiasm to learn more about non-musical art forms.{{Sfn|White|1997|p=24}} ''[[The Firebird]]'' premiered in Paris (as {{lang|fr|L'Oiseau de feu}}) on 25 June 1910 to widespread critical acclaim, and made Stravinsky an overnight sensation.{{Sfn|Savenko|2013|p=256}}{{sfn|White|1979|p=35}} Many critics praised the composer's alignment with Russian nationalist music.{{sfn|Walsh|1999|p=143}} Stravinsky later recollected that after the premiere and subsequent performances, he met many figures in the Paris art scene; Debussy was brought on stage after the premiere and invited Stravinsky to dinner, beginning a lifelong friendship between the two composers.{{Efn|After the premiere of Stravinsky's ''The Rite of Spring'' in 1913, Debussy expressed misgivings about the young composer. Saint-John Perse, who attended rehearsals of ''The Rite'' with Debussy, later told Stravinsky that the French composer was initially excited about the work but that "he changed when he understood that with it you had taken the attention of the new generation away from him". Though Debussy continued to insult Stravinsky with others, he never expressed this to the man himself, and a year after Debussy's death, Stravinsky discovered that the third movement of Debussy's {{lang|fr|[[En blanc et noir]]}} was dedicated to him.{{sfn|White|1979|pp=72–73}} Stravinsky later dedicated the ''[[Symphonies of Wind Instruments]]'' in memoriam of Debussy.{{sfn|Cross|2013|p=5}}}}{{Sfn|White|1979|p=35}}{{Sfn|Stravinsky|1936|p=30}}

The Stravinsky family moved to [[Lausanne]], Switzerland, for the birth of their third child, [[Soulima Stravinsky|Soulima]], and it was there that Stravinsky began work on a ''{{Lang|de|[[Konzertstück]]}}'' for piano and orchestra depicting the tale of a puppet coming to life.{{Sfn|White|1979|p=35}}{{Sfn|Stravinsky|1936|p=31}} After Diaghilev heard the early drafts, he convinced Stravinsky to turn it into a ballet for the 1911 season.{{Sfn|White|1979|pp=35–36}}{{Sfn|Walsh|1999|p=148}} The resulting work, ''[[Petrushka (ballet)|Petrushka]]'' (under the French spelling ''Petrouchka''),{{sfn|Fedorovski|2002|p=83}} premiered in Paris on 13 June 1911 to equal acclaim as ''The Firebird'', and Stravinsky became established as one of the most advanced young theater composers of his time.{{Sfn|Boucourechliev|1987|p=52}}{{Sfn|White|1997|p=35}} 

[[File:The Rite of Spring 1(local version).jpg|alt=Measures of music starting in 3/16, changing to 2/16, then back, and so forth; polytonal chords are tightly placed throughout|thumb|upright=1.2|Opening measures of the "Sacrificial Dance" from ''The Rite of Spring'', showing the odd meters and chords{{efn|1=See {{YouTube|q8MoD06wkhw|"Sacrificial Dance" from ''The Rite of Spring'' (audio, animated score)}}, [[Boston Symphony Orchestra]], [[Michael Tilson Thomas]] conducting (1972)}}]]

While composing ''The Firebird'', Stravinsky conceived an idea for a work about what he called "a solemn pagan rite: sage elders, seated in a circle, watched a young girl dance herself to death".{{Sfn|Stravinsky|1936|p=31}} He immediately shared the idea with [[Nicholas Roerich]], a friend and painter of pagan subjects. When Stravinsky told Diaghilev about the idea, the impresario excitedly agreed to commission the work.{{Sfn|Stravinsky|1936|p=31}}{{Sfn|White|1979|pp=34–35}} After the premiere of ''Petrushka'', Stravinsky settled at his family's residence in [[Ustyluh|Ustilug]] and fleshed out the details of the ballet with Roerich, later finishing the work in [[Clarens, Switzerland|Clarens]], Switzerland.{{Sfn|Walsh|2001|loc=3. The early Diaghilev ballets, 1910–14}} The result was ''[[The Rite of Spring]]'' ({{lang|fr|Le sacre du printemps}}), which depicted [[Paganism|pagan]] rituals in Slavonic tribes and used many [[avant-garde]] techniques, including uneven rhythms and [[Metre (music)|meters]], superimposed harmonies, [[atonality]], and extensive [[Instrumentation (music)|instrumentation]].{{Sfn|White|1997|p=38}}{{Sfn|White|1997|pp=40–41}} With radical choreography by the young [[Vaslav Nijinsky]], the ballet's experimental nature [[List of classical music concerts with an unruly audience response|caused a near-riot]] at its premiere at the [[Théâtre des Champs-Élysées]] on 29 May 1913.{{Sfn|Walsh|2001|loc=3. The early Diaghilev ballets, 1910–14}}{{Sfn|White|1997|p=45}}{{efn|The uproar at the premiere was prompted at least as much by Nijinsky's unconventional choreography as by Stravinsky's music, which was largely inaudible over the hubbub.{{Sfn|Walsh|2001|loc=3. The early Diaghilev ballets, 1910–14}} People whistled, insulted the performers, shouted and laughed. Fights broke out in the auditorium. Nevertheless, the dancers, and the orchestra under [[Pierre Monteux]], continued to the end of the work.{{Sfn|White|1997|p=45}}}}

==== Illness and wartime collaborations ====
[[File:Igor_Stravinski_6_slika_1915_žak_emil_blanš_(cropped).jpg|alt=Painting of Stravinsky standing in a field holding a coat and cane|thumb|Portrait of Igor Stravinsky by [[Jacques-Émile Blanche]] (1915)|left]]
Soon after, Stravinsky was admitted to a hospital for [[typhoid fever]] and stayed in recovery for five weeks; numerous colleagues visited him, including Debussy, [[Manuel de Falla]], [[Maurice Ravel]],{{Efn|In early 1913, Stravinsky and Ravel collaborated on a completion of Mussorgsky's unfinished opera ''[[Khovanshchina]]'' as commissioned by Diaghilev, but Stravinsky's illness prevented him from attending the premiere. Later in life, Stravinsky criticized the arrangement, writing that he was opposed to rearranging the work of another artist, especially one of such prestige as Mussorgsky.{{sfn|White|1979|pp=544–545}}}} and [[Florent Schmitt]]. Upon returning to his family in Ustilug, he continued work on his opera ''The Nightingale'', with an official commission from the Moscow Free Theatre.{{Sfn|Walsh|2001|loc=3. The early Diaghilev ballets, 1910–14}}{{Sfn|Stravinsky|1936|p=50}} In early 1914, his wife Yekaterina contracted [[tuberculosis]] and was admitted to a sanatorium in [[Leysin]], Switzerland, where the couple's fourth child, Maria Milena, was born.{{Sfn|White|1979|p=47}} Here Stravinsky finished ''The Nightingale'', but after the Moscow Free Theatre closed before the premiere, Diaghilev agreed to stage the opera.{{Sfn|V. Stravinsky|Craft|1978|pp=111, 113}} The May 1914 premiere was moderately successful; critics' high expectations after the tumultuous ''Rite of Spring'' were not met, though fellow composers were impressed by the music's emotion and free treatment of [[counterpoint]] and [[Theme (music)|themes]].{{sfn|V. Stravinsky|Craft|1978|pp=119–120}}

In early July 1914, while his family resided in Switzerland near his sick wife, the composer traveled to Russia to retrieve texts for his next work, a ballet-cantata depicting [[Russian wedding traditions]] titled {{Lang|fr|[[Les noces]]}}. Soon after he returned, [[World War I]] began, and the Stravinskys lived in Switzerland until 1920,{{Efn|The subsequent [[Russian Revolution]] in 1917 made it dangerous for Stravinsky to return to Russia, and he never did except for a brief visit in 1962.{{sfn|White|1979|pp=145–146}}}} initially residing in Clarens and later [[Morges]].{{sfn|V. Stravinsky|Craft|1978|pp=132, 136}}{{Sfn|White|1979|pp=49–50}}{{Sfn|Walsh|2001|loc=4. Exile in Switzerland, 1914–20}} During the first months of the war, the composer intensely researched Russian folk poetry and prepared librettos for numerous works to be composed in the coming years, including ''{{Lang|fr|Les noces}}'', ''[[Renard (Stravinsky)|Renard]]'', {{Lang|fr|[[Pribaoutki]]}}, and other [[song cycle]]s.{{Sfn|White|1979|p=51}} Stravinsky met numerous Swiss-French artists during his time in Morges, including the author [[C. F. Ramuz|Charles F. Ramuz]], with whom he collaborated on the small-scale theater work ''{{Lang|fr|[[L'Histoire du soldat]]}}''. The eleven-musician and two-dancer show was designed for easy travel, but after a premiere run funded by [[Werner Reinhart]], all other performances were canceled due to the [[Spanish flu epidemic]].{{Sfn|Walsh|2001|loc=4. Exile in Switzerland, 1914–20}}

Stravinsky's income from performance [[royalties]] was suddenly cut off when his Germany-based publisher suspended operations due to the war.{{Sfn|White|1979|p=54}} To keep his family afloat, the composer sold numerous manuscripts and accepted commissions from wealthy impresarios; one such commission included ''Renard'', a theater work completed in 1916 upon a request from [[Princesse Edmond de Polignac]].{{sfn|V. Stravinsky|Craft|1978|pp=137–138}} Additionally, Stravinsky made a new concert suite from ''The Firebird'' and sold it to a London publisher in an attempt to regain copyright control over the ballet.{{Efn|Stravinsky's early works were published by Moscow-based firms, but because Russia was not a signatory to the [[Berne Convention]] on international copyright regulations, many of his works composed before gaining French citizenship in 1931 (including ''The Firebird'') were not protected by copyright outside of Russia.{{sfn|Walsh|1999|p=191}}{{sfn|White|1979|p=107}}}}{{Sfn|Walsh|2001|loc=4. Exile in Switzerland, 1914–20}} Diaghilev continued to organize Ballets Russes shows across Europe, including two charity concerts for the [[Red Cross]] where Stravinsky made his conducting debut with ''The Firebird''.{{Sfn|Boucourechliev|1987|p=119}} When the Ballets Russes traveled to Rome in April 1917, Stravinsky met the artist [[Pablo Picasso]], and the two adventured around Italy; a {{Lang|fr|[[commedia dell'arte]]}} they saw in Naples inspired the ballet ''[[Pulcinella (ballet)|Pulcinella]]'',{{Efn|''Pulcinella''{{'}}s score is an arrangement of music by 18th-century Italian composers [[Giovanni Battista Pergolesi]], [[Domenico Gallo]], [[Fortunato Chelleri]], and [[Alessandro Parisotti]].{{sfn|Boucourechliev|1987|p=139}}}} which premiered in Paris in May 1920 with designs by Picasso.{{Sfn|Walsh|2001|loc=4. Exile in Switzerland, 1914–20}}{{Sfn|Boucourechliev|1987|p=139}}

=== France, 1920–1939 ===
==== Turn towards neoclassicism ====
After the war ended, Stravinsky decided that his residence in Switzerland was too far from Europe's musical activity, and briefly moved his family to [[Carantec]], France.{{Sfn|White|1979|pp=71–72}} In September 1920, they relocated to the home of [[Coco Chanel]], an associate of Diaghilev's, where Stravinsky composed his early [[Neoclassical music|neoclassical]] work the ''[[Symphonies of Wind Instruments]].{{sfn|V. Stravinsky|Craft|1978|p=210}}{{sfn|White|Noble|1980|p=253}}'' After his relationship with Chanel developed into an affair, Stravinsky relocated his family to the [[white émigré]]-hub [[Biarritz]] in May 1921, partly due to the presence of his other lover [[Vera de Bosset]].{{sfn|V. Stravinsky|Craft|1978|p=210}} At the time, de Bosset was married to the former Ballet Russes stage designer [[Serge Sudeikin]], though de Bosset later divorced Sudeikin to marry Stravinsky. Though Yekaterina Stravinsky became aware of her husband's infidelity, the Stravinskys never divorced, likely due to the composer's refusal to separate.{{Efn|The complications that arose from traveling with de Bosset drove Stravinsky to request visas "for me and my secretary, Mme Vera Sudeikina" in 1924. The two grew so close that in 1929, Stravinsky told his publisher to give de Bosset the manuscript for one of his works, as she was returning to his home soon after.{{sfn|V. Stravinsky|Craft|1978|p=211}}}}{{Sfn|Walsh|2001|loc=5. France: the beginnings of neo-classicism, 1920–25}}{{Sfn|Walsh|2006|p=108}}

In 1921, Stravinsky signed a contract with the [[player piano]] company [[Pleyel et Cie|Pleyel]] to create [[piano roll]] arrangements of his music.{{Sfn|Lawson|1986|p=291}} He received a studio at their factory on the Rue Rochechouart, where he reorchestrated ''{{Lang|fr|Les noces}}'' for a small ensemble including player piano. The composer transcribed many of his major works for the mechanical pianos, and the Pleyel premises remained his Paris base until 1933, even after the player piano had been largely supplanted by electrical [[gramophone]] recording.{{Sfn|Walsh|2001|loc=5. France: the beginnings of neo-classicism, 1920–25}}{{Sfn|Lawson|1986|p=295}} Stravinsky signed another contract in 1924, this time with the [[Aeolian Company]] in London, producing rolls that included comments about the work by Stravinsky that were engraved into the rolls.{{Sfn|Lawson|1986|pp=293–294}} He stopped working with player pianos in 1930 when the Aeolian Company's London branch was dissolved.{{Sfn|Lawson|1986|p=295}}

The interest in Pushkin shared by Stravinsky and Diaghilev led to ''[[Mavra]]'', a comic opera begun in 1921 that exhibited the composer's rejection of Rimsky-Korsakov's style and his turn towards classic Russian operatists like Tchaikovsky, [[Mikhail Glinka|Glinka]], and [[Dargomyzhsky]].{{Sfn|Walsh|2001|loc=5. France: the beginnings of neo-classicism, 1920–25}}{{Sfn|White|1997|p=103}} Yet, after the 1922 premiere, the work's tame nature – compared to the innovative music Stravinsky had come to be known for – disappointed critics.{{Sfn|White|1979|p=79}} In 1923, Stravinsky finished orchestrating ''{{Lang|fr|Les noces}}'', settling on a [[percussion ensemble]] including four pianos. The Ballets Russes staged the ballet-cantata that June,{{Efn|''Les noces'' was the last work Stravinsky ever wrote for the Ballets Russes, likely to due a disassociation from stage music onset by Stravinsky's religious crisis.{{sfn|White|1979|p=85}}}} and although it initially received moderate reviews,{{Sfn|White|1979|p=82}} the London production received a flurry of critical attacks, leading the writer [[H. G. Wells]] to publish an open letter in support of the work.{{Sfn|White|1997|p=75}}{{sfn|V. Stravinsky|Craft|1978|pp=158–159}} During this period, Stravinsky expanded his involvement in conducting and piano performance. He conducted the premiere of his [[Octet (Stravinsky)|Octet]] in 1923 and served as the soloist for the premiere of his [[Concerto for Piano and Wind Instruments (Stravinsky)|Piano Concerto]] in 1924. Following its debut, he embarked on a tour, performing the concerto in over 40 concerts.{{Sfn|Walsh|2001|loc=5. France: the beginnings of neo-classicism, 1920–25}}{{Sfn|White|1979|p=86}}{{sfn|V. Stravinsky|Craft|1978|p=252}}

==== Religious crisis and international touring ====
[[File:Alexandra Danilova and Serge Lifar in Apollon Musagete.jpg|alt=Two dancers pose in front of a rocky background|thumb|[[Alexandra Danilova]] and [[Serge Lifar]] in ''{{Lang|fr|[[Apollon musagète]]}}'']]
The Stravinsky family moved again in September 1924 to [[Nice]], France. The composer's schedule was divided between spending time with his family in Nice, performing in Paris, and touring other locations, often accompanied by de Bosset.{{Sfn|Walsh|2001|loc=5. France: the beginnings of neo-classicism, 1920–25}} At this time, Stravinsky was going through a spiritual crisis onset by meeting Father Nicolas, a priest near his new home.{{Sfn|White|1979|p=85}} He had abandoned the Russian Orthodox Church during his teenage years, but after meeting Father Nicolas in 1926 and reconnecting with his faith, he began regularly attending services.{{Sfn|White|1979|pp=85, 89}}{{Sfn|Copeland|1982|p=565}} From then until moving to the United States,{{Efn|Stravinsky's religious affiliation after moving to the United States is difficult to determine; in 1953, ''[[Life (magazine)|Life]]'' reported that he "is fairly regular in his attendance at Los Angeles's Russian Orthodox Church" but Stravinsky refuted this point in the margins of his copy.{{Sfn|V. Stravinsky|Craft|1978|p=653}}}} Stravinsky diligently attended church, participated in charity work, and studied religious texts.{{Sfn|Taruskin|1996|p=1618}} The composer later wrote that he was contacted by God at a service at the [[Basilica of Saint Anthony of Padua]], leading him to write his first religious composition, the {{Lang|la|Pater Noster}} for [[a cappella]] choir.{{Sfn|White|1979|p=90}}

In 1925, Stravinsky asked the French writer and artist [[Jean Cocteau]] to write the libretto for an operatic setting of [[Sophocles]]' tragedy ''[[Oedipus Rex]]'' in Latin.{{Sfn|Walsh|2001|loc=6. Return to the theater, 1925–34}} The May 1927 premiere of his opera-oratorio ''[[Oedipus rex (opera)|Oedipus rex]]'' was staged as a concert performance since there was too little time and money to present it as a full opera, and Stravinsky attributed the work's critical failure to its programming between two glittery ballets.{{Sfn|White|1997|p=120}}{{Sfn|Boucourechliev|1987|pp=167, 174}} Furthermore, the influence from Russian Orthodox vocal music and 18th-century composers like [[Handel]] was not well received in the press after the May 1927 premiere; neoclassicism was not popular with Parisian critics, and Stravinsky had to publicly assert that his music was not part of the movement.{{Sfn|White|1997|p=117}}{{Sfn|White|1979|p=91}} This reception from critics was not improved by Stravinsky's next ballet, ''{{Lang|fr|[[Apollon musagète]]}}'', which depicted the birth and apotheosis of [[Apollo]] using an 18th-century {{Lang|fr|[[ballet de cour]]}} musical style. [[George Balanchine]] choreographed the premiere, beginning decades of collaborations between Stravinsky and the choreographer.{{Sfn|Boucourechliev|1987|pp=174, 177–178}}{{Sfn|White|1997|p=122}} Nevertheless, some critics found it to be a turning point in Stravinsky's neoclassical music, describing it as a pure work that blended neoclassical ideas with modern methods of composition.{{sfn|Walsh|2001|loc=6. Return to the theater, 1925–34}}

A new commission for a ballet from [[Ida Rubinstein]] in 1928 led Stravinsky again to Tchaikovsky. Basing the music on romantic ballets like ''[[Swan Lake]]'' and borrowing many themes from Tchaikovsky, Stravinsky wrote ''[[The Fairy's Kiss]]'' with [[Hans Christian Andersen]]'s tale ''[[The Ice-Maiden]]'' as the subject.{{Sfn|Walsh|2001|loc=6. Return to the theater, 1925–34}}{{Sfn|White|1997|pp=128–130}} The November 1928 premiere was not well-received, likely due to the disconnect between each of the ballet's sections and the mediocre choreography, of which Stravinsky disapproved.{{Sfn|White|1997|p=130}}{{Sfn|White|1979|p=94}} Diaghilev's fury with Stravinsky for accepting a ballet commission from someone else caused an intense feud between the two, one that lasted until the impresario's death in August 1929.{{Efn|Stravinsky later looked back on their friendship with happiness, recalling in his autobiography, "He was genuinely attracted by what I was then writing, and it gave him real pleasure to produce my work ... These feelings of his, and the zeal which characterized them, naturally evoked in me a reciprocal sense of gratitude, deep attachment, and admiration for his sensitive comprehension, his ardent enthusiasm, and the indomitable fire with which he put things into practice."{{sfn|Stravinsky|1936|pp=154–155}}}}{{Sfn|Boucourechliev|1987|p=181}} Most of that year was spent composing a new solo piano work, the [[Capriccio for Piano and Orchestra|Capriccio]], and touring across Europe to conduct and perform piano;{{Sfn|Walsh|2001|loc=6. Return to the theater, 1925–34}}{{Sfn|Stravinsky|1936|p=157}} the Capriccio's success after the December 1929 premiere caused a flurry of performance requests from many orchestras.{{Sfn|White|1979|p=98}} A commission from the [[Boston Symphony Orchestra]] in 1930 for a symphonic work led Stravinsky back to Latin texts, this time from the book of [[Psalms]].{{Sfn|Boucourechliev|1987|pp=184–185}} Between touring concerts, he composed the choral ''[[Symphony of Psalms]]'', a deeply religious work that premiered in December of that year.{{Sfn|White|1997|pp=138–139}}

==== Work with Dushkin ====
[[File:Dushkin_LCCN2014717914_(cropped).jpg|alt=Dushkin standing on a ship|thumb|Samuel Dushkin, date unknown|upright]]
While touring in Germany, Stravinsky visited his publisher's home and met the violinist [[Samuel Dushkin]], who convinced him to compose the [[Violin Concerto (Stravinsky)|Violin Concerto]] with Dushkin's help on the solo part.{{Sfn|Walsh|2001|loc=6. Return to the theater, 1925–34}}{{Sfn|Boucourechliev|1987|p=188}} Impressed by Dushkin's [[Virtuoso|virtuosic]] ability and understanding of music, the composer wrote more music for violin and piano and rearranged some of his earlier music to be performed alongside the Concerto while on tour until 1933.{{Sfn|White|1979|pp=100, 103}}{{Sfn|White|1997|p=142}} That year, Stravinsky received another ballet commission from Ida Rubenstein for a setting of a poem by [[André Gide]]. The resulting melodrama {{Lang|fr|[[Perséphone (Stravinsky)|Perséphone]]}} only received three performances in 1934 due to its lukewarm reception, and Stravinsky's disdain towards the work was evident in his later suggestion that the libretto be rewritten.{{Sfn|Walsh|2001|loc=6. Return to the theater, 1925–34}}{{Sfn|White|1979|p=105}}{{Sfn|V. Stravinsky|Craft|1978|p=340}} In June of that year, Stravinsky became a [[naturalized]] French citizen, protecting all his future works under copyright in France and the United States. His family subsequently moved to an apartment on the [[Rue du Faubourg Saint-Honoré]] in Paris, where he began writing a two-volume autobiography with the help of [[Walter Nouvel]], published in 1935 and 1936 as {{Lang|fr|Chroniques de ma vie}}.{{Sfn|Walsh|2001|loc=6. Return to the theater, 1925–34}}{{Sfn|Boucourechliev|1987|p=197}}

After the short run of ''Perséphone'', Stravinsky embarked on a successful three-month tour of the United States with Dushkin; he visited South America for the first time the following year.{{Sfn|White|1997|p=150}}{{Sfn|Walsh|2001|loc=7. Last years in France: towards America, 1934–9}} The composer's son Soulima was an excellent pianist, having performed the Capriccio in concert with his father conducting. Continuing a line of solo piano works, the elder Stravinsky composed the [[Concerto for Two Pianos (Stravinsky)|Concerto for Two Pianos]] to be performed by them both, and they toured the work through 1936.{{Sfn|White|1979|p=109}} Around this time came three American-commissioned works:{{Sfn|Walsh|2001|loc=7. Last years in France: towards America, 1934–9}} the ballet {{Lang|fr|[[Jeu de cartes (Stravinsky)|Jeu de cartes]]}} for Balanchine,{{Sfn|V. Stravinsky|Craft|1978|p=331}} the [[Brandenburg Concertos| ''Brandenburg Concerto'']]-like work [[Dumbarton Oaks (Stravinsky)|Dumbarton Oaks]],{{Sfn|White|1997|pp=154–155}} and the lamenting [[Symphony in C (Stravinsky)|Symphony in C]] for the [[Chicago Symphony Orchestra]]'s 50th anniversary.{{sfn|Cross|2013|p=17}}{{Sfn|White|1979|p=404}} Stravinsky's last years in France from late 1938 to 1939 were marked by the deaths of his eldest daughter, his wife, and his mother, the former two from tuberculosis.{{Sfn|V. Stravinsky|Craft|1978|p=340}}{{Sfn|White|1979|p=113}} In addition, the increasingly hostile criticism of his music in major publications{{Efn|A notable example was the June 1939 issue of {{lang|fr|[[La Revue musicale]]}}, which featured an article by ballet master [[Serge Lifar]] that began by praising Stravinsky's genius but turned to criticizing his music as unfit for dance and "positively anti-dance". Stravinsky's colleagues were agitated by Lifar's article, threatening to disallow publication of their material in {{lang|fr|La Revue musicale}}'s issue, but nothing happened in order to prevent a scandal.{{sfn|Walsh|2006|pp=99–100}}}} and failed run for a seat at the [[Institut de France]] further dissociated him from France,{{Sfn|White|1979|p=107}}{{Sfn|Walsh|2006|p=99}}{{Sfn|V. Stravinsky|Craft|1978|p=342}} and shortly after the beginning of [[World War II]] in September 1939 he moved to the United States.{{Sfn|Walsh|2001|loc=7. Last years in France: towards America, 1934–9}}

=== United States, 1939–1971 ===
==== Adjustment to the United States and commercial works ====
[[File:Igor-Stravinsky-TIME-1948.jpg|alt=TIME magazine cover depicting Stravinsky's head in front of the keys of a piano, with famous characters from his ballets next to him|thumb|Stravinsky on the cover of ''[[Time (magazine)|Time]]'' magazine in 1948]]
Upon arriving in the United States, Stravinsky resided with [[Edward W. Forbes]], the director of the [[Charles Eliot Norton Lectures]] series at [[Harvard University]]. The composer was contracted to deliver six lectures for the series, beginning in October 1939 and ending in April 1940.{{Sfn|Boucourechliev|1987|pp=203, 205}}{{Sfn|White|1979|pp=114–115}}{{Sfn|Walsh|2006|pp=91, 94}} The lectures, written with assistance from [[Pyotr Suvchinsky]] and [[Alexis Roland-Manuel]], were published in French under the title {{Lang|fr|Poétique musicale}} (''Poetics of Music'') in 1941, with an English translation following in 1947.{{Sfn|Walsh|2006|pp=93–94}}{{Sfn|White|1979|p=115}} Between lectures, Stravinsky finished the Symphony in C and toured across the country, meeting de Bosset upon her arrival in New York. Stravinsky and de Bosset finally married on 9 March 1940 in [[Bedford, Massachusetts]]. After the completion of his lecture series, the couple moved to Los Angeles, where they applied for [[United States nationality law|American naturalization]].{{Sfn|Boucourechliev|1987|p=206}}

Money became scarce as the war stopped the composer from receiving European royalties, making him take up numerous conducting engagements and compose commercial works for the entertainment industry, including the {{Lang|fr|[[Scherzo à la russe (Stravinsky)|Scherzo à la russe]]}} for [[Paul Whiteman]] and the {{Lang|fr|[[Scènes de ballet (Stravinsky)|Scènes de ballet]]}} for a [[Broadway theatre|Broadway]] revue.{{Sfn|Walsh|2001|loc=8. USA: the late neo-classical works, 1939–51}}{{Sfn|White|1979|p=119}} Some discarded film music made it into larger works, as with the war-inspired [[Symphony in Three Movements]], the middle movement of which used music from an unused score for ''[[The Song of Bernadette (film)|The Song of Bernadette]]'' (1943).{{Sfn|Joseph|2001|pp=119–120}} The couple's poor English led to the formation of a predominantly European social circle and home life: the estate staff consisted of mostly Russians, and frequent guests included musicians [[Joseph Szigeti]], [[Arthur Rubinstein]], and [[Sergei Rachmaninoff]].{{Sfn|Walsh|2006|p=128}}{{Sfn|Walsh|2001|loc=8. USA: the late neo-classical works, 1939–51}} However, Stravinsky eventually joined popular Hollywood circles, attending parties with celebrities and becoming closely acquainted with European authors [[Aldous Huxley]], [[W. H. Auden]], [[Christopher Isherwood]], and [[Dylan Thomas]].{{Sfn|Joseph|2001|pp=122–123, 126}}{{Sfn|Holland|2001}}

In 1945, Stravinsky received American citizenship and subsequently signed a contract with British publishing house [[Boosey & Hawkes]], who agreed to publish all his future works. Additionally, he revised many of his older works and had Boosey & Hawkes publish the new editions to re-copyright his older works.{{Sfn|Walsh|2001|loc=8. USA: the late neo-classical works, 1939–51}}{{Sfn|White|1979|p=124}} Around the 1948 premiere of another Balanchine collaboration, the ballet ''[[Orpheus (ballet)|Orpheus]]'', the composer met the young conductor [[Robert Craft]] in New York; Craft had asked Stravinsky to explain the revision of the ''Symphonies of Wind Instruments'' for an upcoming concert. The two quickly became friends and Stravinsky invited Craft to Los Angeles; the young conductor soon became Stravinsky's assistant, collaborator, and [[amanuensis]] until the composer's death.{{Efn|Many believed that Craft manipulated Stravinsky in the composer's later years. [[Darius Milhaud]], an old friend of Stravinsky's, later joked that "no one can get near [Stravinsky] these days", and Stravinsky's children believed that Craft used Vera Stravinsky to execute his wishes.{{sfn|White|1979|p=83}}{{sfn|Walsh|2006|p=419}}}}{{Sfn|Walsh|2001|loc=8. USA: the late neo-classical works, 1939–51}}{{Sfn|Walsh|2006|p=419}}

==== Turn towards serialism ====
[[File:William Hogarth 021.jpg|alt=Warm-colored painting of a man talking with a woman while he is measured for new clothes|upright=1.2|thumb|The first painting in the series ''[[A Rake's Progress|The Rake's Progress]]'', upon which Stravinsky based his [[The Rake's Progress|opera of the same name]]]]
As Stravinsky became more familiar with English, he developed the idea to write an English-language opera based on a series of paintings by 18th-century artist [[William Hogarth]] titled ''[[A Rake's Progress|The Rake's Progress]]''.{{Sfn|Boucourechliev|1987|pp=230–231}} The composer joined Auden to write the libretto in November 1947; American writer [[Chester Kallman]] was later brought in to assist Auden.{{Sfn|Stravinsky|Craft|1960|p=156}}{{Sfn|Boucourechliev|1987|p=232}} Stravinsky finished the [[The Rake's Progress|opera of the same name]] in 1951, and despite its widespread performances and success,{{Sfn|Boucourechliev|1987|p=238}} the composer was dismayed to find that his newer music did not captivate young composers.{{Sfn|Walsh|2001|loc=9. The proto-serial works, 1951–9}} Craft had introduced Stravinsky to the [[serial music]] of the [[Second Viennese School]] shortly after ''The Rake's Progress'' premiered, and the opera's composer began studying and listening to the music of [[Anton Webern]] and [[Arnold Schoenberg]].{{Sfn|Boucourechliev|1987|p=241}}{{Sfn|White|1979|p=133}}

During the 1950s, Stravinsky continued touring extensively across the world, occasionally returning to Los Angeles to compose.{{Sfn|Boucourechliev|1987|p=247}} In 1953, he agreed to compose a new opera with a libretto by Dylan Thomas, but development on the project came to a sudden end following Thomas's death in November of that year. Stravinsky completed ''In Memoriam Dylan Thomas'', his first work fully based on the serial [[twelve-tone technique]], the following year.{{Sfn|Walsh|2001|loc=9. The proto-serial works, 1951–9}}{{sfn|Straus|2001|p=4}} The 1956 cantata ''{{Lang|la|[[Canticum Sacrum]]}}'' premiered at the International Festival of Contemporary Music in Venice, inspiring {{Lang|de|[[Norddeutscher Rundfunk]]|italic=no}} to commission the musical setting {{Lang|la|[[Threni (Stravinsky)|Threni]]}} in 1957.{{sfn|White|1979|pp=136–137, 504}} With the Balanchine ballet ''[[Agon (ballet)|Agon]]'', Stravinsky fused neoclassical themes with the twelve-tone technique, and ''{{Lang|la|Threni}}'' showed his full shift towards use of [[tone row]]s.{{Sfn|Walsh|2001|loc=9. The proto-serial works, 1951–9}} In 1959, Craft interviewed Stravinsky for an article titled ''Answers to 35 Questions'', in which the composer sought to correct myths surrounding him and discuss his relationships with other artists. The article was later expanded into a book, and over the next four years, three more interview-style books were published.{{Efn|Craft's heavy editing on these volumes, combined with Stravinsky's weak memory of early-life events, made the books unreliable and factually inaccurate.{{Sfn|Walsh|2001|loc=9. The proto-serial works, 1951–9}}}}{{sfn|White|1979|pp=138–139}}

Continued international tours brought Stravinsky to [[Washington, D.C.]] in January 1962, where he attended a dinner at the [[White House]] with then-President [[John F. Kennedy]] in honor of the composer's 80th birthday. Although it was largely an [[Anti-Sovietism|anti-Soviet]] political stunt, Stravinsky remembered the event fondly, composing the ''Elegy for J.F.K.'' after the president's [[Assassination of John F. Kennedy|assassination a year later]].{{Sfn|Lengel|2017}}{{Sfn|Walsh|2006|pp=450–451}} In September 1962, he 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]].{{sfn|White|1979|pp=146–148}} After the success of ''The Firebird'' and ''The Rite of Spring'' in the 1910s, Stravinsky's music was respected and frequently performed in the Soviet Union, influencing young Soviet composers at the time like [[Dmitri Shostakovich]].{{sfn|Savenko|2013|pp=257–258}} However, after [[Stalin]] began consolidating power in the early 1930s, Stravinsky's music nearly vanished and was formally banned in 1948.{{sfn|Savenko|2013|p=259}} A new interest in his works was born during the [[Khrushchev Thaw]], partly due to the composer's 1962 visit.{{sfn|Savenko|2013|p=260}} During his three-week visit he met with Soviet Premier [[Nikita Khrushchev]] and several leading Soviet composers, including Shostakovich and [[Aram Khachaturian]].{{sfn|White|1979|pp=146–148}}{{Sfn|Walsh|2006|pp=466, 471}} Stravinsky did not return to Los Angeles until December 1962 after eight months of almost continual traveling.{{sfn|Walsh|2006|p=476}}

==== Final works and death ====
[[File:RIAN_archive_597702_Composer_Igor_Stravinsky_and_cellist_Mstislav_Rostropovich.jpg|upright|alt=An elderly Stravinsky wearing two pairs of glasses shaking hands with Rostropovich|thumb|Stravinsky with [[Mstislav Rostropovich]]{{Efn|When the Russian cellist and conductor Mstislav Rostropovich met Stravinsky in 1961 in London and the following year in Moscow, he asked Craft about a commission for cello from Stravinsky. Craft replied that it would be expensive so the cellist settled for arrangements. Performances and a recording of the Pas de deux from The Fairy's Kiss and of the Russian Maiden's Song from Mavra followed. Rostropovich usually played from memory, but the music's constantly shifting rhythms made him sketch it out on paper and place it on the piano.{{sfn|Wilson|2017}}}} in September 1962]]
Stravinsky revisited biblical themes for many of his later works, notably in the 1961 chamber cantata ''[[A Sermon, a Narrative and a Prayer]]'', the 1962 musical television production ''[[The Flood (Stravinsky)|The Flood]]'', the 1963 Hebrew cantata ''[[Abraham and Isaac (Stravinsky)|Abraham and Isaac]]'', and the 1966 ''[[Requiem Canticles]]'', the last of which was his final major composition.{{Efn|While the ''Requiem Canticles'' was Stravinsky's final major work, ''[[The Owl and the Pussy Cat (Stravinsky)|The Owl and the Pussy Cat]]'', a song for soprano and piano, was his last composition. The composer also left a number of unfinished works, as well as incomplete transcriptions of [[Bach]] and [[Hugo Wolf|Wolf]] works.{{sfn|Walsh|2001|loc=10. Final years, 1959–71}}}}{{Sfn|Walsh|2001|loc=10. Final years, 1959–71}}{{Sfn|Boucourechliev|1987|pp=283–284, 293}} Between tours, the composer worked relentlessly to devise new tone rows, even working on toilet paper from airplane lavatories.{{Sfn|Boucourechliev|1987|pp=292–293}} The intense touring schedule began taking a toll on the elderly composer; January 1967 marked his last recording session, and his final concert came the following May. An obviously very frail Stravinsky made his final public conducting appearance on May 17, 1967 at [[Massey Hall]] in Toronto, when he led the [[Toronto Symphony Orchestra]] in a performance of his [[Pulcinella Suite]].

After spending the autumn of 1967 in the hospital due to bleeding [[Peptic ulcer disease|stomach ulcers]] and [[thrombosis]], Stravinsky returned to domestic touring in 1968 (only appearing as an audience member) but stopped composing due to his gradual decline in physical health.{{sfn|White|1979|pp=154–155}}{{sfn|Walsh|2006|p=532}}

In his final years, the Stravinskys and Craft moved to New York to be closer to medical care, and the composer's travel was limited to visiting family in Europe.{{sfn|White|1979|p=158}} Soon after being discharged from [[Lenox Hill Hospital]] after contracting [[pulmonary edema]], Stravinsky moved with his wife to a new apartment on [[Fifth Avenue]]. The composer died there on 6 April 1971 at the age of 88.{{sfn|Walsh|2006|pp=560–561}}{{Sfn|Boucourechliev|1987|p=307}} A funeral service was held three days later at the [[Frank E. Campbell Funeral Chapel]].{{sfn|Henahan|1971}} After a service at [[Santi Giovanni e Paolo, Venice|Santi Giovanni e Paolo]] with a performance of the ''Requiem Canticles'' conducted by Craft, Stravinsky was buried on the cemetery island of [[Isola di San Michele|San Michele]] in Venice, several meters from the tomb of Sergei Diaghilev.{{Sfn|Walsh|2001|loc=10. Final years, 1959–71}}{{Sfn|Boucourechliev|1987|pp=308–309}}
{{Clear}}