Editing Igor Stravinsky (section)

=== 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}}