Editing Igor Stravinsky (section)

==== 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}}}}