Editing Igor Stravinsky (section)

==== 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}}