Editing Igor Stravinsky

{{Short description|Russian composer (1882–1971)}}
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{{Infobox classical composer
| name               = Igor Stravinsky
| native_name        = Игорь Стравинский
| native_name_lang   = ru
| image              = Igor Stravinsky LOC 32392u.jpg
| alt                = Black and white photo of Stravinsky resting his arms atop a piano, a score resting under his hands
| caption            = Stravinsky in the early 1920s
| birth_date         = {{birth date|1882|6|17|df=y}}
| birth_place        = [[Lomonosov, Russia|Oranienbaum]], Russia
| death_date         = {{death date and age|1971|4|6|1882|6|17|df=y}}
| death_place        = [[New York City]], US
| occupation         = {{hlist|Composer|conductor|pianist}}
| spouses            = {{ubl
  | {{marriage|[[Yekaterina Nosenko]]|24 January 1906|2 March 1939|end=died}}
  | {{marriage|[[Vera de Bosset]]|9 March 1940}}
  }}
| children           = 4, including [[Théodore Strawinsky|Théodore]] and [[Soulima Stravinsky|Soulima]]
| works              = [[List of compositions by Igor Stravinsky|List of compositions]]
| signature          = Igor Stravinsky 1946 (v).svg
| signature_alt      = Igor Stravinsky
}}

'''Igor Fyodorovich Stravinsky'''{{family name footnote|Fyodorovich|Stravinsky|lang=Eastern Slavic}}{{efn|{{IPAc-en|s|t|r|ə|ˈ|v|ɪ|n|s|k|i}}; {{lang-rus|Игорь Фёдорович Стравинский||ˈiɡərʲ ˈfʲɵdərəvʲɪtɕ strɐˈvʲinskʲɪj|Ru-Igor-Feodorovich-Stravinsky.ogg}}}} ({{OldStyleDate|17 June|1882|5 June}} – 6 April 1971) was a Russian composer and conductor with French citizenship (from 1934) and American citizenship (from 1945). He is widely considered one of the most important and influential [[20th-century classical music|composers of the 20th century]] and a pivotal figure in [[modernism (music)|modernist music]].

Born to a musical family in [[Saint Petersburg]], Russia, Stravinsky grew up taking piano and [[music theory]] lessons. While studying law at the [[Saint Petersburg State University|University of Saint Petersburg]], he met [[Nikolai Rimsky-Korsakov]] and studied music under him until the latter's death in 1908. Stravinsky met the [[impresario]] [[Sergei Diaghilev]] soon after, who commissioned the composer to write three ballets for the [[Ballets Russes]]'s Paris seasons: ''[[The Firebird]]'' (1910), ''[[Petrushka (ballet)|Petrushka]]'' (1911), and ''[[The Rite of Spring]]'' (1913), the last of which caused a [[List of classical music concerts with an unruly audience response|near-riot at the premiere]] due to its [[avant-garde]] nature and later changed the way composers understood rhythmic structure.

Stravinsky's compositional career is often divided into three main periods: his Russian period (1913–1920), his [[Neoclassicism (music)|neoclassical]] period (1920–1951), and his [[Serialism|serial]] period (1954–1968). During his Russian period, Stravinsky was heavily influenced by Russian styles and folklore. Works such as ''[[Renard (Stravinsky)|Renard]]'' (1916) and {{Lang|fr|[[Les noces]]}} (1923) drew upon Russian folk poetry, while compositions like {{Lang|fr|[[L'Histoire du soldat]]}} (1918) integrated these folk elements with popular musical forms, including the tango, waltz, [[ragtime]], and [[chorale]]. His neoclassical period exhibited themes and techniques from the [[Classical period (music)|classical period]], like the use of the sonata form in his [[Octet (Stravinsky)|Octet]] (1923) and use of [[Greek mythology|Greek mythological]] themes in works including {{Lang|fr|[[Apollon musagète]]}} (1927), ''[[Oedipus rex (opera)|Oedipus rex]]'' (1927), and ''[[Perséphone (Stravinsky)|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 {{Lang|la|[[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 many supporters were confused by Stravinsky's constant stylistic changes, later writers recognized his versatile language as important in the development of modernist music. Stravinsky's revolutionary ideas influenced composers as diverse as [[Aaron Copland]], [[Philip Glass]], [[Béla Bartók]], and [[Pierre Boulez]], who were all challenged to innovate music in areas beyond [[tonality]], especially rhythm and [[musical form]]. In 1998, ''[[Time (magazine)|Time]]'' magazine listed Stravinsky as one of the [[Time 100: The Most Important People of the Century|100 most influential people]] of the century. Stravinsky died of [[pulmonary edema]] on 6 April 1971 in New York City, having left six memoirs written with his friend and assistant [[Robert Craft]], as well as an earlier autobiography and a series of lectures. [[Claude Debussy]] credited Stravinsky with having “enlarged the boundaries of the permissible” in music.<ref name=Schonberg/>

== 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}}

== Music ==
{{Further|List of compositions by Igor Stravinsky}}
{{listen
| header      = Excerpt from ''[[The Firebird]]'' (1910)
| filename    = Infernal Dance from The Firebird by Stravinsky.ogg
| title       = "Infernal Dance"
| description = [[United States Marine Band]], arrangement by Thomas Knox
| format      = [[Ogg]]
| image=none}}
Much of Stravinsky's music is characterized by short, sharp [[Articulation (music)|articulations]] with minimal [[rubato]] or [[vibrato]].{{Sfn|Boucourechliev|1987|p=250}} His student works were primarily assignments from his teacher Rimsky-Korsakov and were mainly influenced by Russian composers.{{sfn|White|Noble|1980|p=240}} His first three ballets, ''[[The Firebird]]'', ''[[Petrushka (ballet)|Petrushka]]'', and ''[[The Rite of Spring]]'', marked the beginning of his international fame and a departure from 19th-century styles.{{sfn|White|Noble|1980|p=240}}{{sfn|Walsh|2003|p=10}} Stravinsky's music is often divided into three periods of composition:{{Sfn|Pasler|1986|p=xiii}}{{sfn|Szabo|2011|p=vi}} his Russian period (1913–1920), where he was greatly influenced by Russian artists and folklore;{{sfn|White|Noble|1980|p=248}} his [[Neoclassicism (music)|neoclassical]] period (1920–1951), where he turned towards techniques and themes from the [[Classical period (music)|classical period]];{{sfn|White|Noble|1980|p=253}}{{sfn|Walsh|2003|p=1}} and his [[Serialism|serial]] period (1954–1968), where he used highly structured composition techniques pioneered by composers of the [[Second Viennese School]].{{sfn|Straus|2001|p=4}}{{sfn|White|Noble|1980|p=259}}

=== Student works, 1898–1907 ===
Stravinsky's time before meeting Diaghilev was spent learning from Rimsky-Korsakov and his collaborators.{{sfn|White|Noble|1980|p=240}} Only three works survive from before Stravinsky met Rimsky-Korsakov in August 1902: "[[Tarantella (Stravinsky)|Tarantella]]" (1898), [[Scherzo (Stravinsky)|Scherzo in G minor]] (1902), and ''The Storm Cloud'', the first two being works for piano and the last for voice and piano.{{sfn|Walsh|2003|pp=3–4}}{{sfn|Taruskin|1996|p=I: 100}} Stravinsky's first assignment from Rimsky-Korsakov was the four-movement [[Piano Sonata in F-sharp minor (Stravinsky)|Piano Sonata in F-sharp minor]], which was also his first work to be performed in public.{{sfn|Walsh|2003|p=4}}{{sfn|White|1979|p=9}} Rimsky-Korsakov often gave Stravinsky the task of orchestrating various works to allow him to analyze the works' form and structure.{{sfn|White|1979|p=10}} Many of Stravinsky's early works showed influence from French composers as well, notably in the minimal use of large doublings and different combinations of tone colors.{{Sfn|Fredrickson|1960|p=18}} A number of Stravinsky's student compositions were performed at Rimsky-Korsakov's gatherings at his home; these include a set of [[Bagatelle (music)|bagatelles]], a "chanson comique", and a [[cantata]], showing the use of [[Classical period (music)|classical]] musical techniques that would later define Stravinsky's neoclassical period.{{sfn|White|1979|p=10}} The musicologist [[Stephen Walsh (writer)|Stephen Walsh]] described this time in Stravinsky's musical career as "aesthetically cramped" due to the "cynical conservatism" of Rimsky-Korsakov and his music.{{sfn|Walsh|2003|p=5}} Rimsky-Korsakov thought the [[Symphony in E-flat (Stravinsky)|Symphony in E-flat]] (1907) was swayed too much by [[Alexander Glazunov|Glazunov]]'s style, and disliked the modernist influence on ''Faun and Shepherdess'' (1907);{{sfn|White|1979|p=12}} however, critics found the works to not stand out from his teacher's music.{{Sfn|Savenko|2013|p=255}}

=== First three ballets, 1910–1913 ===
[[File:Léon_Bakst_001.jpg|alt=Drawing of a woman wearing a red dress, fire pouring from the sides|thumb|Sketch of costumes for ''[[The Firebird]]'' by [[Léon Bakst]], 1910]]Russian composers often used large [[orchestration]] to feature many different [[timbre]]s, and Stravinsky harnessed this idea in his first three ballets, often surprising the musicians and performers due to the orchestra's great force at certain moments.{{Sfn|Walsh|2001|loc=3. The early Diaghilev ballets, 1910–14}} ''[[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]]''.{{sfn|McFarland|1994|pp=205, 219}} The "leit-harmony" was used to [[juxtapose]] the protagonist, the [[Firebird (Slavic folklore)|Firebird]], and the antagonist, [[Koschei|Koschei the Deathless]]: the former was associated with [[Whole-tone scale|whole-tone]] phrases and the latter with [[Octatonic scale|octatonic]] harmony.{{sfn|McFarland|1994|p=209}} 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 [[Flutter-tonguing|fluttertongue]] effects".<ref>{{harvnb|McFarland|1994|p=219}} quoting {{harvnb|Stravinsky|Craft|1962|p=128}}.</ref>

Stravinsky defined his musical character in his second ballet ''[[Petrushka (ballet)|Petrushka]]''.{{sfn|Taruskin|1996|p=I: 662}} 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.{{Efn|See: "Table I: Folk and Popular Tunes in Petrushka" {{harvtxt|Taruskin|1996|pp=I: 696–697}}.}} Stravinsky also used a folk tune from Rimsky-Korsakov's opera ''[[The Snow Maiden]]'', showing the former's continued reverence for his teacher.{{sfn|Taruskin|1996|p=I: 698}} The "[[Petrushka chord]]" was "the first important use of [[bitonality]] in modern music."<ref name=Schonberg/>

Stravinsky's third ballet, ''[[The Rite of Spring]]'', caused a [[List of classical music concerts with an unruly audience response|near-riot at the premiere]] due to its [[avant-garde]] nature.{{sfn|Stravinsky|1936|p=31}} He 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 described it.{{sfn|White|1957|p=61}} In addition, the complex [[Metre (music)|meter]] in the music consists of phrases combining conflicting [[time signature]]s and odd [[Accent (music)|accents]], such as the "jagged slashes" in the "Sacrificial Dance".{{sfn|Hill|2000|p=86}}{{sfn|White|1957|p=61}} Both polytonality and unusual rhythms can be heard in the chords that open the second episode, "Augurs of Spring", consisting of an E-flat [[Dominant seventh chord|dominant 7]] superimposed on an F-flat major [[Triad (music)|triad]] written in an uneven rhythm, Stravinsky shifting the accents seemingly at random to create asymmetry.{{sfn|Hill|2000|p=63}}{{sfn|Ross|2008|p=75}} ''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."{{sfn|Grout|Palisca|1981|p=713}}

=== Russian period, 1913–1920 ===
[[File:Stravinsky Renard March.jpg|alt=Sheet music showing six bars of music; each bar changes from 2/4 to 3/4, and the melody doesn't always fall on the first beat, showing a constant shift in accents|upright=1.5|thumb|Excerpt from ''[[Renard (Stravinsky)|Renard]]'' (1916), showing the constant meter changes prevalent in much of Stravinsky's Russian period music]]
The musicologist [[Jeremy Noble (musicologist)|Jeremy Noble]] said that Stravinsky's "intensive researches into Russian folk material" took place during his time in Switzerland from 1914 to 1920.{{sfn|White|Noble|1980|p=248}} [[Béla Bartók]] considered Stravinsky's Russian period to have begun in 1913 with ''The Rite of Spring'' due to its use of Russian folk songs, themes, and techniques.{{sfn|V. Stravinsky|Craft|1978|p=149}} The use of duple or triple meters 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.{{sfn|White|1979|p=563}}

While Stravinsky did not use as many folk melodies as he had in his first three ballets, he often used folk poetry.{{sfn|Savenko|2013|p=262}}{{sfn|White|Noble|1980|p=249}} The ballet-cantata ''{{Lang|fr|[[Les noces]]}}'' was based on texts from a collection of Russian folk poetry by [[Pyotr Kireevsky]],{{sfn|White|1979|p=51}}{{sfn|V. Stravinsky|Craft|1978|p=145}} and his opera-ballet ''[[Renard (Stravinsky)|Renard]]'' was based on a folktale collected by [[Alexander Afanasyev]].{{sfn|White|1979|p=240}}{{sfn|Walsh|2003|p=16}} Many of Stravinsky's Russian period works featured animal characters and themes, likely due to inspiration from [[nursery rhyme]]s he read with his children.{{sfn|White|Noble|1980|p=250}} Stravinsky also used unique theatrical styles. ''{{Lang|fr|Les noces}}'' blended the staging of ballets with the small instrumentation of early cantatas, a unique production described on the score as "Russian Choreographic Scenes".{{sfn|V. Stravinsky|Craft|1978|p=144}} In ''Renard'', the voices were placed in the orchestra, as they were meant to accompany the action on stage.{{sfn|White|Noble|1980|p=250}} ''[[L'Histoire du soldat]]'' was composed in 1918 with the Swiss novelist [[Charles Ferdinand Ramuz|Charles F. Ramuz]] as a small [[musical theatre]] production for dancers, a narrator, and a [[septet]].{{sfn|Keller|2011|p=456}} It mixed the Russian folktales in the narrative with common musical structures of the time, like the [[Tango music|tango]], [[Waltz (music)|waltz]], [[Rag (music)|rag]], and [[chorale]].{{sfn|Zak|1985|p=105}} Even as his style changed in later years, Stravinsky maintained a musical connection to his Russian roots.{{sfn|Walsh|2001|loc=4. Exile in Switzerland, 1914–20}}{{sfn|Savenko|2013|pp=260–261}}

=== Neoclassical period, 1920–1951 ===
The ballet ''[[Pulcinella (ballet)|Pulcinella]]'' was commissioned by Diaghilev in 1919 after he proposed the idea of a ballet based on music by 18th-century Italian composers like [[Giovanni Battista Pergolesi]]; by imposing a work based on the harmonic and rhythmic systems of [[Late Baroque (music)|late-Baroque era]] composers, Stravinsky marked the start of his turn towards 18th-century music.{{sfn|Boucourechliev|1987|p=139}}{{sfn|V. Stravinsky|Craft|1978|p=183}}{{sfn|White|Noble|1980|p=251}} Although the musicologist Jeremy Noble considered Stravinsky's neoclassical period to have begun in 1920 with his ''[[Symphonies of Wind Instruments]]'',{{sfn|White|Noble|1980|p=253}} Bartók argued that the period "really starts with his Octet for Wind Instruments, followed by his [[Concerto for Piano and Wind Instruments (Stravinsky)|Concerto for Piano]]".{{sfn|V. Stravinsky|Craft|1978|p=218}} During this period, Stravinsky used techniques and themes from the [[Classical period (music)|classical period of music]].{{sfn|V. Stravinsky|Craft|1978|p=218}}[[File:Ballets_Russes_Apollon_1928.jpg|alt=Five dancers posing in front of a forested backdrop|left|thumb|Dancers in the Ballets Russes's {{Lang|fr|[[Apollon musagète]]}}]]
[[Greek mythology]] was a common theme in Stravinsky's neoclassical works. His first Greek mythology-based work was the ballet {{Lang|fr|[[Apollon musagète]]}} (1927), choosing the leader of the [[Muses]] and the god of art [[Apollo]] as the subjects.{{sfn|White|1979|p=92}} Stravinsky would use themes from Greek mythology in future works like ''[[Oedipus rex (opera)|Oedipus rex]]'' (1927), ''[[Perséphone (Stravinsky)|Persephone]]'' (1935), and ''[[Orpheus (ballet)|Orpheus]]'' (1947).{{sfn|Cross|2013|p=13}} [[Richard Taruskin]] wrote 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 contemporary ideas.{{sfn|Taruskin|1992a|pp=651–652}} In addition, Stravinsky turned towards older musical structures and modernized them.{{sfn|Szabo|2011|pp=19–22}}{{sfn|Szabo|2011|p=39}} His [[Octet (Stravinsky)|Octet]] (1923) uses the [[sonata form]], modernizing it by disregarding the standard ordering of themes and traditional tonal relationships for different sections.{{sfn|Szabo|2011|pp=19–22}} Baroque [[counterpoint]] was used throughout the choral ''[[Symphony of Psalms]]'' (1930).{{sfn|Szabo|2011|p=23}} In the [[jazz]]-influenced ''[[Ebony Concerto (Stravinsky)|Ebony Concerto]]'' (1945), Stravinsky fused [[big band]] orchestration with Baroque forms and harmonies.{{Sfn|Mellers|1967|p=31}}

Stravinsky's neoclassical period ended in 1951 with the opera ''[[The Rake's Progress]]''.{{sfn|Szabo|2011|p=1}}{{sfn|White|Noble|1980|p=256}} Taruskin described the opera as "the hub and essence of 'neo-classicism'". He pointed out how the opera contains numerous references to Greek mythology and other operas like Mozart's ''[[Don Giovanni]]'' and Bizet's ''[[Carmen]]'', but still "embod[ies] the distinctive structure of a fairy tale". Stravinsky was inspired by the [[List of operas by Wolfgang Amadeus Mozart|operas of Mozart]] in composing the music, particularly {{Lang|it|[[Così fan tutte]]}},{{Efn|Stravinsky and Auden attended a performance of {{lang|it|Così fan tutte}} while they wrote the libretto, and the composer later cited Mozart's opera as an influence on ''The Rake's Progress''.{{sfn|Stravinsky|Craft|1960|p=158}}}} but other scholars also point out influence from [[George Frideric Handel|Handel]], [[Christoph Willibald Gluck|Gluck]], [[Ludwig van Beethoven|Beethoven]], [[Franz Schubert|Schubert]], [[Carl Maria von Weber|Weber]], [[Gioachino Rossini|Rossini]], [[Gaetano Donizetti|Donizetti]], and [[Giuseppe Verdi|Verdi]].{{sfn|Taruskin|1992b|pp=1222–1223}}{{sfn|White|Noble|1980|p=257}} ''The Rake's Progress'' has become an important work in [[List of prominent operas|opera repertoire]], being "[more performed] than any other opera written after the death of [[Giacomo Puccini|Puccini]]", according to Taruskin.{{sfn|Taruskin|1992b|p=1220}}

=== Serial period, 1954–1968 ===
In the 1950s, Stravinsky began using serial compositional techniques, such as the [[twelve-tone technique]] originally devised by [[Arnold Schoenberg]].{{sfn|Craft|1982}} Noble wrote 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.{{sfn|White|Noble|1980|p=259}} The composer's treatment of the twelve-tone technique was unique: whereas Schoenberg's technique was very strict, disallowing repetitions of a [[tone row]] until it was complete, Stravinsky repeated notes freely, even separating the row into [[Cell (music)|cells]] and reordering the notes. In addition, his serial period's orchestration style became dark and bass-heavy, with [[Wind instrument|winds]] and piano frequently using their lowest registers.{{Sfn|Walsh|2001|loc=9. The proto-serial works, 1951–9}}
[[File:Stravinsky_-_In_memoriam_Dylan_Thomas_five-tone_row.png|alt=The following notes on a musical staff: E natural, E flat, C natural, C sharp, D natural|thumb|Five-tone row from ''In Memoriam Dylan Thomas'' (1954)]]
Stravinsky first experimented with non-twelve-tone serial techniques in small-scale works such as the [[Cantata (Stravinsky)|Cantata]] (1952), the [[Septet (Stravinsky)|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 (ballet)|Agon]]'' (1954–1957) was the first of his works to include a twelve-tone series, whereas the second movement from ''{{Lang|la|[[Canticum Sacrum]]}}'' (1956) was the first piece to contain a movement entirely based on a tone row.{{sfn|Straus|2001|p=4}} ''Agon''<nowiki/>'s unique tonal structure was significant to Stravinsky's serial music; it begins [[Diatonic scale|diatonic]], moves towards full 12-tone serialism in the middle, and returns to diatonicism in the end.{{sfn|White|Noble|1980|p=261}} Stravinsky returned to sacred themes in works such as ''{{Lang|la|Canticum Sacrum}},'' ''{{Lang|la|[[Threni (Stravinsky)|Threni]]}}'' (1958), ''[[A Sermon, a Narrative and a Prayer]]'' (1961), and [[The Flood (Stravinsky)|''The Flood'']] (1962). Stravinsky used a number of concepts from earlier works in his serial pieces; for example, the voice of [[God in Christianity|God]] being two [[Bass (voice type)|bass voices]] in [[homophony]] seen in ''The Flood'' was previously used in ''{{Lang|fr|Les noces}}''.{{sfn|White|Noble|1980|p=261}} Stravinsky's final large-scale 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.{{sfn|White|Noble|1980|p=261}}{{sfn|Straus|1999|p=67}} Noble described 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".{{sfn|White|Noble|1980|pp=261–262}}

The influence of other composers on Stravinsky can be seen throughout this period. He 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 similarities between Schoenberg's ''[[Klangfarbenmelodie]]'' and Stravinsky's ''[[Variations: Aldous Huxley in memoriam|Variations]].''{{sfn|White|Noble|1980|p=259}}{{sfn|White|Noble|1980|p=261}} Stravinsky also used a number of themes found in works by [[Benjamin Britten]],{{sfn|White|Noble|1980|p=261}} later commenting about the "many titles and subjects [I have shared] with Mr. Britten already".{{sfn|White|1979|p=539}} In addition, he 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.{{sfn|White|1979|p=134}}

== Artistic influences ==
Stravinsky worked with some of the most famous artists of his time, many of whom he met after achieving international success with ''The Firebird''.{{sfn|White|1979|p=35}}{{Sfn|Walsh|2003|p=10}} 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.{{Sfn|White|1979|pp=560, 561}} Through the Ballets Russes and Diaghilev, Stravinsky worked with figures like [[Vaslav Nijinsky]], [[Léonide Massine]],{{Sfn|Walsh|2003|p=10}} [[Alexandre Benois]],{{Sfn|Walsh|2003|p=10}} [[Michel Fokine]], and [[Léon Bakst]].{{Sfn|White|1979|p=32}}

[[File:Igor_Stravinsky_as_drawn_by_Pablo_Picasso_31_Dec_1920_-_Gallica.jpg|alt=Pencil drawing of Stravinsky sitting sideways, arms crossed|thumb|left|upright|Stravinsky as drawn by [[Pablo Picasso]] in 1920]]
The composer's interest in art propelled him to develop a strong relationship with Picasso, whom he met in 1917.{{sfn|Nandlal|2017|pp=81–82}} In the years following, 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,{{sfn|Stravinsky|Craft|1959|p=117}} and a short sketch of clarinet music by Stravinsky.{{sfn|Nandlal|2017|p=84}} This exchange was essential to establish how the artists would approach their collaborative space in ''Ragtime'' and ''Pulcinella''.{{sfn|Nandlal|2017|p=81}}{{sfn|Stravinsky|Craft|1959|pp=116–117}}

Stravinsky displayed a taste in literature that was wide and reflected his constant desire for new discoveries.{{Sfn|Predota|2021b}} The texts and literary sources for his work began with interest in [[Folklore|Russian folklore]].{{sfn|White|Noble|1980|p=248}}{{sfn|Taruskin|1980|p=501}} After moving to Switzerland in 1914, Stravinsky began gathering folk stories from numerous collections, which were later used in works like ''{{Lang|fr|Les noces}}'', ''Renard'', ''{{Lang|fr|[[Pribaoutki]]}}'', and various songs.{{sfn|White|1979|p=51}} Many of Stravinsky's works, including ''The Firebird'', ''Renard'', and ''{{Lang|fr|L'Histoire du soldat}}'' were inspired by [[Alexander Afanasyev]]'s famous collection ''Russian Folk Tales''.{{sfn|White|1979|p=240}}{{Sfn|Taruskin|1996|pp=558–559}}{{Sfn|Zak|1985|p=103}} Collections of folk music influenced Stravinsky's music; numerous melodies from ''The Rite of Spring'' were found in an anthology of Lithuanian folk songs.{{sfn|Taruskin|1980|p=502}}

An interest in the [[Roman Rite|Latin liturgy]] began shortly after Stravinsky rejoined the church in 1926, beginning with the composition of his first religious work in 1926 ''{{Lang|la|Pater Noster}}'', written in [[Old Church Slavonic]].{{sfn|White|1979|pp=89, 90}}{{Sfn|Steinberg|2005|p=270}} He later used three [[psalms]] from the [[Latin Vulgate]] in his ''Symphony of Psalms'' for orchestra and mixed choir.{{Sfn|White|1979|pp=359, 360}}{{Sfn|Steinberg|2005|p=268}} Many works in the composer's neoclassical and serial periods used (or were based on) liturgical texts.{{Sfn|Steinberg|2005|p=270}}{{sfn|Zinar|1978|p=177}}

Stravinsky worked with many authors throughout his career. He first worked with the Swiss novelist [[Charles Ferdinand Ramuz|Charles F. Ramuz]] on ''{{Lang|fr|L'Histoire du soldat}}'' in 1918, with whom he formed the idea and wrote the text.{{sfn|Keller|2011|p=456}} In 1933, [[Ida Rubinstein]] commissioned Stravinsky to set music to a poem by [[André Gide]], later becoming the melodrama ''{{Lang|fr|[[Perséphone (Stravinsky)|Perséphone]]}}''.{{Sfn|White|1979|p=375}} The Stravinsky-Gide collaboration was apparently tense: Gide disliked how the music did not follow the [[Prosody (music)|prosody]] of his poem and did not attend rehearsals, and Stravinsky ignored many of Gide's ideas.{{sfn|Boucourechliev|1987|pp=191–192}} Gide later left the project and did not attend the premiere run.{{Sfn|White|1979|pp=376–377}} 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]].{{Sfn|White|1979|pp=451–452}}{{Sfn|Stravinsky|Craft|1960|p=146}} Stravinsky befriended many other authors as well, including [[T. S. Eliot]],{{Sfn|Predota|2021b}} Aldous Huxley, Christopher Isherwood, and [[Dylan Thomas]],{{sfn|Holland|2001}} the last of whom Stravinsky began working with on an opera in 1953 but stopped due to Thomas's death.{{sfn|White|1979|p=477}}

== Legacy ==
Stravinsky is widely regarded as one of the greatest composers of the 20th century.{{sfn|Walsh|2003|p=1}}{{sfn|Glass|1998}} In 1998, ''[[Time (magazine)|Time]]'' magazine listed him as one of the [[Time 100|100 most influential people]] of the century.{{Sfn|''Time''|1999}} Stravinsky was not only recognized for his composing; he also achieved fame as a pianist and as a conductor. [[Philip Glass]] wrote in ''Time'', "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."{{sfn|Glass|1998}} Stravinsky was also renowned for his precise [[orchestration]]: the critic [[Alexis Roland-Manuel]] wrote that Stravinsky and the French composer [[Maurice Ravel]] were the "[two men] in the world who best knows the weight of a trombone-note, the harmonics of a 'cello or a ''pp'' [[tam-tam]] in the relationships of one orchestral group to another."<ref>Quoted in {{Harvnb|Goddard|1925|p=292}}.</ref> [[Anthony Tommasini]] writes: "One morning in 1971 I arrived at the door of the music building at Yale, on which someone had posted an index card with this simple news: 'Igor Stravinsky died today.' It felt as if the floor had dropped out from under the musical world I inhabited. Stravinsky had been like a Beethoven among us."<ref>{{cite news| last=Tommasini| first=Anthony| author-link=Anthony Tommasini| date=January 21, 2011| title=The Greatest| work=[[The New York Times]]| url=https://www.nytimes.com/2011/01/23/arts/music/23composers.html}}</ref>

Stravinsky was noted for his distinctive use of rhythm, especially in ''The'' ''Rite of Spring''.{{Sfn|Andriessen|Cross|2003|p=249}} The rhythm in ''The Rite'' stretched across [[Bar (music)|bars]] and lacked distinct beats, which opened the door for future composers to make rhythm more fluid within meters.{{sfn|Simeone|Craft|Glass|1999}}{{sfn|Browne|1930|pp=360–361}} However, many saw his subsequent neoclassical period as a return to the past while other composers tried advancing modern music.{{Sfn|Andriessen|Cross|2003|p=248}} His subsequent turn towards serialism further alienated him from audiences, and academics saw this stylistic shift as not innovative enough, since they believed the death of Schoenberg also marked the end of twelve-tone music. Stephen Walsh related the changing nature of Stravinsky's music to the composer's nature: as an exile from his native Russia, Stravinsky adapted to his environment and absorbed the music of those around him.{{Sfn|Walsh|2001|loc=11. Posthumous reputation and legacy}} Martha Hyde stated that more recent analysis "judg[ed] Stravinsky's neoclassical style as the harbinger of musical postmodernism".{{Sfn|Hyde|2003|p=134}} After his death, Stravinsky's importance in [[modernist music]] became evident:{{Sfn|Andriessen|Cross|2003|p=251}} though many modern styles quickly fell out of fashion (like twelve-tone music), the music of Stravinsky stood out as a body of unique ingenuity, according to Walsh.{{Efn|This significance was evident when parts of ''The Rite of Spring'' were included on the [[Voyager Golden Record]]s.{{sfn|NASA|n.d.}}}}{{Sfn|Walsh|2006|p=572}}{{Sfn|Cross|1998|p=5}}

Stravinsky influenced many composers and musicians.{{Sfn|Cross|1998|p=6}} His music continues to offer inspiration and a unique method to young composers.{{Sfn|Walsh|2001|loc=11. Posthumous reputation and legacy}} The rhythmic innovations in ''The Rite of Spring'' brought rhythm to the forefront of modern music rather than tonality, setting a new standard in the modernist movement that future composers like [[Varèse]] and [[Ligeti]] were inspired to innovate upon.{{sfn|Grout|Palisca|1981|pp=713, 717}}{{Sfn|Benjamin|2013}} Stravinsky's rhythm and vitality greatly influenced [[Aaron Copland]] and [[Pierre Boulez]], and the combination of folklore and modernism found in many of Stravinsky's works influenced [[Béla Bartók]] as well.{{sfn|Matthews|1971|p=11}}{{sfn|Schiff|1995}}{{sfn|Taruskin|1998}} Stravinsky's less popular works were also widely influential: the disconnected form of the ''Symphonies of Wind Instruments'' can be seen similarly in later works by avant-garde masters like [[Messiaen]], [[Michael Tippett|Tippett]], [[Louis Andriessen|Andriessen]], and [[Iannis Xenakis|Xenakis]].{{Sfn|Andriessen|Cross|2003|p=250}} Stravinsky also influenced composers like [[Elliott Carter]], [[Harrison Birtwistle]], and [[John Tavener]].{{Sfn|Cross|1998|p=6}} Aside from Craft, his students include [[Earnest Andersson]],{{sfn|Slim|2019|p=187}} [[Armando José Fernandes]], [[Mordecai Seter]], [[Robert Strassburg]], and [[Warren Zevon]].{{sfn|Pfitzinger|2017|p=522}}{{sfn|Plasketes|2016|pp=6–7}}

== Recordings ==
Stravinsky's need for money during the World Wars led him to sign many contracts with record companies to conduct his music.{{Sfn|Cook|2003|p=176}} His early exposure to player piano technology guided his view that records were far inferior to live performance but acted as historical documentation of how his works should be performed.{{Sfn|Cook|2003|pp=177, 179}}{{sfn|V. Stravinsky|Craft|1978|p=308}} As a result, Stravinsky left a massive archive of recordings of his own music, seldom recording music by other composers.{{sfn|Boretz|Cone|1968|p=268}}{{Sfn|Cook|2003|p=185}} 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]].{{sfn|Boretz|Cone|1968|pp=268–288}} Stravinsky received five Grammy Awards and a total of eleven nominations for his recordings, with three of his albums being inducted into the [[Grammy Hall of Fame]].{{Sfn|Grammy Awards|n.d.a}}{{Sfn|Grammy Awards|n.d.b}} He was [[Posthumous award|posthumously awarded]] the [[Grammy Lifetime Achievement Award]] in 1987.{{Sfn|Grammy Awards|n.d.c}}

During his lifetime, Stravinsky appeared on several telecasts and documentaries.{{Sfn|Joseph|2001|p=165}} The first, ''A Conversation with Igor Stravinsky'', was released in 1957 by [[NBC]] and produced by Robert Graff, who later commissioned and produced ''The Flood''. The interview-like format later influenced the various volumes Craft wrote with Stravinsky.{{Sfn|Joseph|2001|pp=167–168}} The 1965 [[National Film Board of Canada]] documentary ''Stravinsky'', directed by [[Roman Kroitor]] and [[Wolf Koenig]], followed Stravinsky conducting the CBC Symphony Orchestra in a recording of the ''[[Symphony of Psalms]]'', with anecdotal interviews interspersed throughout.{{Sfn|Joseph|2001|p=171}} The 1966 CBS documentary ''Portrait of Stravinsky'' took the composer back to the [[Théâtre des Champs-Élysées]] (where ''The Rite of Spring'' premiered) and to his old home in Clarens, Switzerland.{{Sfn|Joseph|2001|pp=176, 178}} Other documentaries captured the collaborative process between Balanchine and Stravinsky.{{Sfn|Joseph|2001|p=172}}

== Writings ==
[[File:Robert craft 1967.jpg|alt=Craft conducting and looking down|thumb|[[Robert Craft]] in 1967; Craft dictated and edited six memoirs with Stravinsky in the composer's later years]]
Stravinsky published a number of books throughout his career. 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".{{sfn|Stravinsky|1936|pp=91–92}} With Alexis Roland-Manuel and [[Pyotr Suvchinsky|Pierre Souvtchinsky]], he wrote his 1939–40 Harvard University Charles Eliot Norton Lectures, which were delivered in French and first collected under the title {{lang|fr|Poétique musicale}} in 1942 and then translated in 1947 as ''Poetics of Music''.{{Efn|The names of uncredited collaborators are given in {{harvnb|Walsh|2001}}.}} In 1959, several interviews between the composer and Craft were published as ''Conversations with Igor Stravinsky''. Five more volumes of a similar format were published over the following decade.{{sfn|Stravinsky|Craft|1959}}

Books and articles are listed in Appendix E of Eric Walter White's ''Stravinsky: The Composer and His Works'',{{sfn|White|1979|pp=621–624}} references in Alicja Jarzębska's ''Stravinsky: His Thoughts and Music'',{{sfn|Jarzębska|2020|pp=14–15}} and [[Stephen Walsh (writer)|Stephen Walsh]]'s profile of Stravinsky on ''[[Oxford Music Online]]''.{{sfn|Walsh|2001|loc="Writings"}}

=== Books ===

* {{cite book |last=Stravinsky |first=Igor |title=Chronicle of My Life |publisher=Gollancz |year=1936 |location=London |oclc=1354065 |ref=none}} 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}}. Reprinted again as ''An Autobiography (1903–1934)'' (London: Boyars, 1990) {{ISBN|978-0-7145-1063-7}}. Also published as ''Igor Stravinsky – An Autobiography'' (New York: M. & J. Steuer, 1958), and ''[[iarchive:igorstravinskyan002221mbp/mode/2up|An Autobiography]]'' (New York: W. W. Norton, 1962) {{ISBN|978-0-393-00161-7}}.
* {{cite book |last=Stravinsky |first=Igor  | translator-last=Seferis  | translator-first=George A. | translator-last2=Knodel  | translator-first2=Arthur |url=https://books.google.com/books?id=UwrtfNYIylQC |title=Poetics of Music in the Form of Six Lessons: The Charles Eliot Norton Lectures for 1939–1940 |publisher=Harvard University Press |orig-year=1947 | year=1970|isbn=978-0-674-67856-9 |ref=none |author-mask=1}}
* {{cite book |last1=Stravinsky |first1=Igor |url=https://archive.org/details/conversationswit00stra/mode/2up |title=Conversations with Igor Stravinsky |last2=Craft |first2=Robert |publisher=Doubleday |year=1959 |location= |oclc=896750 |ref=none |author1-mask=1}} Reprinted by University of California Press, 1980. {{ISBN|978-0-520-04040-3}}.
* {{cite book |last1=Stravinsky |first1=Igor |url=https://archive.org/details/memoriescommenta1960stra |title=Memories and Commentaries |last2=Craft |first2=Robert |publisher=Doubleday |orig-year=1960 | year=1981 |isbn=978-0-520-04402-9 |ref=none |author1-mask=1 |author2-mask=1}} Reprinted by University of California Press, 1981.{{Efn|The 2002 reprinted "One-Volume Edition" varies from the 1960 original, London: Faber and Faber. {{ISBN|978-0-571-21242-2}}.}}
* {{cite book |last1=Stravinsky |first1=Igor |url=https://books.google.com/books?id=2weWzRoq3roC&dq=Expositions%20and%20Developments&pg=PP1 |title=Expositions and Developments |last2=Craft |first2=Robert |publisher=Faber and Faber |orig-year=1962 | year=1981 |isbn=978-0-520-04403-6 |ref=none |author1-mask=1 |author2-mask=1}} Reprinted by University of California Press, 1981.
* {{cite book |last1=Stravinsky |first1=Igor |url=https://archive.org/details/dialoguesanddiar00stra/mode/2up |title=Dialogues and a Diary |last2=Craft |first2=Robert |publisher=Doubleday |year=1963 |oclc=896750 |ref=none |author1-mask=1 |author2-mask=1}} Reprinted by Faber and Faber, 1986.{{Efn|The 1968 reprinted ''Dialogues'' varies from the 1963 original, London: Faber and Faber. {{ISBN|0-571-10043-0}}.}}
* {{cite book |last1=Stravinsky |first1=Igor |url=https://archive.org/details/themesepisodes0000stra |title=Themes and Episodes |last2=Craft |first2=Robert |publisher=Alfred A. Knopf |year=1966 |oclc=611277 |ref=none |author1-mask=1 |author2-mask=1}}
* {{cite book |last1=Stravinsky |first1=Igor |url=https://archive.org/details/retrospectivesco0000igor |title=Retrospectives and Conclusions |last2=Craft |first2=Robert |publisher=Alfred A. Knopf |year=1969 |oclc=896809 |ref=none |author1-mask=1 |author2-mask=1}}
* {{cite book |last1=Stravinsky |first1=Igor |url= |title=Themes and Conclusions |last2=Craft |first2=Robert |publisher=Faber and Faber |year=1972 |ref=none |author-mask1=1 |author-mask2=1}} This is 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}}. Reprinted by University of California Press, 1982.

=== Articles ===
* {{cite magazine |last=Stravinsky |first=Igor |date=29 May 1913 |editor-last=Canudo |editor-first=Ricciotto |editor-link=Ricciotto Canudo |title=Ce que j'ai voulu exprimer dans {{'}}''Le sacre du printemps''{{'}} |trans-title=What I Wanted to Express in ''The Rite of Spring'' |magazine=[[Montjoie!]] |language=French |issue=2 |ref=none}} At [https://dicteco.huma-num.fr/fr/article/12330 DICTECO]
* {{cite news |last=Stravinsky |first=Igor |author-mask=1 |date=15 May 1921 |title=Les Espagnols aux Ballets Russes |trans-title=The Spaniards at the Ballets Russes |work=[[Comœdia]] |language=French |ref=none}} At [https://dicteco.huma-num.fr/fr/article/12330 DICTECO]
* {{cite news |last=Stravinsky |first=Igor |author-mask=1 |date=18 October 1921 |title=[[:s:The Times/1921/News/The Genius of Tchaikovsky|The Genius of Tchaikovsky]] |work=[[The Times]] |issue=42854 |location=London |type=Open Letter to Letter to Diaghilev |ref=none}}
* {{cite news |last=Stravinsky |first=Igor |author-mask=1 |date=18 May 1922 |title=Une lettre de Stravinsky sur Tchaikovsky |trans-title=A Letter from Stravinsky on Tchaikovsky |work=[[Le Figaro]] |language=French |ref=none}} At [https://dicteco.huma-num.fr/fr/article/12334 DICTECO]
* {{cite news |last=Stravinsky |first=Igor |author-mask=1 |date=January 1924 |title=Some Ideas about my Octuor |work=The Arts |volume=VI |issue=1 |location=Brooklyn |ref=none}} (in {{harvnb|White|1979|pp=575–577}})
* {{cite news |last=Stravinsky |first=Igor |author-mask=1 |date=1924 |title=O mych ostatnich utworach |trans-title=About my last works |language=Polish |work=The Muzyka |issue=1 |pages=15–17 |ref=none}}
* {{cite news |last=Stravinsky |first=Igor |author-mask=1 |date=1927 |title=Kilka uwag o tzw. neoklasycyzmie |trans-title=A few remarks about so-called neoclassicism |language=Polish |work=The Muzyka |issue=12 |pages=563–566 |ref=none}}
* {{cite journal |last=Stravinsky |first=Igor |author-mask=1 |date=December 1927 |title=Avertissement... a Warning |journal=The Dominant |location=London |ref=none }} (in {{harvnb|White|1979|p=577}})
* {{cite news |last=Stravinsky |first=Igor |author-mask=1 |date=29 April 1934 |title=Igor Stra<!--not a typo-->winsky nous parle de {{'}}''Perséphone''{{'}} |trans-title=Igor Stravinsky tells us about Persephone |url=https://gallica.bnf.fr/ark:/12148/bpt6k4610400w/f4 |work={{ill|Excelsior (journal)|fr|lt=Excelsior}} |language=French |ref=none}} At [https://dicteco.huma-num.fr/fr/article/12354 DICTECO]
* {{cite news |last=Stravinsky |first=Igor |author-mask=1 |date=1934 |title=Moja spowiedź muzyczna |trans-title=My Musical Confession |language=Polish |work=The Muzyka |issue=2 |pages=56–57 |ref=none}}
* {{cite journal |last=Stravinsky |first=Igor |author-mask=1 |date=15 December 1935 |title=Quelques confidences sur la musique |trans-title=Some secrets about music |journal=Conferencia |language=French |location=Paris |ref=none}} At [https://dicteco.huma-num.fr/fr/article/12358 DICTECO]
* {{cite journal |last=Stravinsky |first=Igor |author-mask=1 |date=28 January 1936 |title=Ma candidature à l'Institut |trans-title=My application to the Institute |journal=Jour |language=French |location=Paris |ref=none}}
* {{cite book |last=Stravinsky |first=Igor |title=Pushkin: Poetry and Music |publisher= |year=1940 |location= |oclc=1175989080 |ref=none |author-mask=1}}
* {{cite news |last1=Stravinsky |first1=Igor |last2=Nouvel |first2=Walter |author-link2=Walter Nouvel |author-mask=1 |date=1953 |title=The Diaghilev I Knew |work=[[The Atlantic Monthly]] |pages=33–36 |ref=none |url=https://www.theatlantic.com/magazine/archive/1953/11/the-diaghilev-i-knew/641207/ }}

== References ==

=== Notes ===
{{Notelist}}

=== Citations ===
{{Reflist|20em}}

=== Sources ===
==== Books ====
{{div col|colwidth=30em}}
* {{Cite book |last1=Andriessen |first1=Louis |author-link=Louis Andriessen |title=The Cambridge Companion to Stravinsky |last2=Cross |first2=Jonathan |author2-link=Jonathan Cross (academic) |publisher=Cambridge University Press |year=2003 |isbn=978-0-511-99889-8 |editor-last=Cross |editor-first=Jonathan |chapter=Composing with Stravinsky |doi=10.1017/CCOL9780521663304.014}}
* {{cite book |last1=Boretz |first1=Benjamin |author1-link=Benjamin Boretz |title=Perspectives on Schoenberg and Stravinsky |last2=Cone |first2=Edward T. |author2-link=Edward T. Cone |date=1968 |publisher=Princeton University Press |isbn=978-1-4008-7843-7 |chapter=Igor Stravinsky: A Discography of the Composer's Performances |chapter-url=https://books.google.com/books?id=NkDWCgAAQBAJ&pg=PA268}}
* {{Cite book |last=Boucourechliev |first=André |author-link=André Boucourechliev |url=https://archive.org/details/stravinsky0000bouc/mode/2up |title=Stravinsky |publisher=Holmes and Meier |year=1987 |isbn=978-0-8419-1162-8 |translator-last=Cooper |translator-first=Martin}}
* {{Cite book |last=Bowlt |first=John E. |title=Stravinsky in Context |publisher=Cambridge University Press |year=2020 |isbn=978-1-108-38108-6 |editor-last=Griffiths |editor-first=Graham |pages=61–70 |chapter=Sergei Diaghilev and Stravinsky: From World of Art to Ballets Russes |doi=10.1017/9781108381086.010 |s2cid=229417098}}
* {{Cite book |last=Caddy |first=Davinia |title=Stravinsky in Context |publisher=Cambridge University Press |year=2020 |isbn=978-1-108-38108-6 |editor-last=Griffiths |editor-first=Graham |pages=71–79 |chapter=Paris and the Belle Époque |doi=10.1017/9781108381086.011 |s2cid=229424313}}
* {{Cite book |last=Cook |first=Nicholas |author-link=Nicholas Cook |title=The Cambridge Companion to Stravinsky |publisher=Cambridge University Press |year=2003 |isbn=978-0-511-99889-8 |editor-last=Cross |editor-first=Jonathan |editor1-link=Jonathan Cross (academic) |pages=175–191 |chapter=Stravinsky conducts Stravinsky |doi=10.1017/CCOL9780521663304.010}}
* {{cite book |last=Cross |first=Jonathan |author-link=Jonathan Cross (academic) |url=https://books.google.com/books?id=tIh8JVOGuDMC |title=The Stravinsky Legacy |publisher=Cambridge University Press |year=1998 |isbn=978-0-521-56365-9}}
* {{cite book |last=Cross |first=Jonathan |author-link=Jonathan Cross (academic) |chapter-url=https://books.google.com/books?id=zrGXd1alyGcC&pg=PA3 |chapter=Stravinsky in Exile |title=Stravinsky and His World |editor-first=Tamara |editor-last=Levitz |publisher=Princeton University Press |year=2013 |isbn=978-0-691-15987-4}}
* {{cite book |last1=Dubal |first1=David |url=https://books.google.com/books?id=d_b6lbD8S6QC&pg=PP1 |title=The Essential Canon of Classical Music |publisher=North Point Press |year=2003 |isbn=978-0-86547-664-6 |author1-link=David Dubal}}
* {{cite book | last= Fedorovski | first= Vladimir | title= L'histoire secrète des Ballets russes |language=French| year=2002 | location= Monaco| publisher= Rocher| isbn=978-2-268-04142-1 }} 
* {{Cite book |last=Garafola |first=Lynn |url= |title=Diaghilev's Ballets Russes |publisher=Oxford University Press |year=1989 |isbn=978-0-306-80878-4 |author-link=Lynn Garafola}}
* {{cite book |last1=Grout |first1=Donald Jay |title=A History of Western Music |last2=Palisca |first2=Claude V. |date=1981 |publisher=J. M. Dent & Sons |isbn=978-0-460-04546-9 |edition=3rd |author-link=Donald Jay Grout |author2-link=Claude V. Palisca}}
* {{cite book |last1=Hill |first1=Peter |author-link=Peter Hill (pianist) |url=https://books.google.com/books?id=143tncq0w-sC |title=Stravinsky: The Rite of Spring |date=2000 |publisher=Cambridge University Press |isbn=978-0-521-62714-6}}
* {{Cite book |last1=Hyde |first1=Martha |title=The Cambridge Companion to Stravinsky |publisher=Cambridge University Press |year=2003 |isbn=978-0-511-99889-8 |editor-last=Cross |editor-first=Jonathan |editor-link=Jonathan Cross (academic) |chapter=Stravinsky's neoclassicism |pages=98–136 |doi=10.1017/CCOL9780521663304.007}}
* {{Cite book |last=Jarzębska |first=Alicja |translator-last=Davidson |translator-first=Lindsay |title=Stravinsky: His Thoughts and Music |editor-first=Maciej |editor-last=Gołąb |series=Eastern European Studies in Musicology |volume=19 |publisher=Peter Lang |year=2020 |isbn=978-3-631-81690-5 |url=https://library.oapen.org/handle/20.500.12657/51576 |doi=10.3726/b16810|hdl=20.500.12657/51576 }}
* {{cite book |last1=Joseph |first1=Charles M. |url=https://books.google.com/books?id=gtYqep1IL58C&q=joseph+2001+stravinsky |title=Stravinsky Inside Out |date=2001 |publisher=Yale University Press |isbn=978-0-300-12936-6}}
* {{cite book |last1=Keller |first1=James M. |title=Chamber Music: A Listener's Guide |date=2011 |publisher=Oxford University Press |isbn=978-0-19-020639-0 |url=https://books.google.com/books?id=Ms0dDAAAQBAJ&pg=PA456}}
* {{cite book |last1=Lawson |first1=Rex |title=Confronting Stravinsky: Man, Musician, and Modernist |date=1986 |publisher=University of California Press |isbn=978-0-520-05403-5 |editor-last=Pasler |editor-first=Jan |chapter=Stravinsky and the Pianola}}
* {{cite book |last1=Pasler |first1=Jan |title=Confronting Stravinsky: Man, Musician, and Modernist |date=1986 |publisher=University of California Press |isbn=978-0-520-05403-5 |editor-last=Pasler |editor-first=Jan |chapter=Introduction}}
* {{cite book |last1=Pfitzinger |first1=Scott |url=https://books.google.com/books?id=ugfWDQAAQBAJ |title=Composer Genealogies: A Compendium of Composers, Their Teachers, and Their Students |date=2017 |publisher=Rowman & Littlefield |isbn=978-1-4422-7225-5}}
* {{cite book |last1=Plasketes |first1=George |url=https://books.google.com/books?id=J4zPCwAAQBAJ&pg=PA6 |title=Warren Zevon: Desperado of Los Angeles |publisher=Rowman & Littlefield |year=2016 |isbn=978-1-4422-3457-4}}
* {{cite book |last1=Ross |first1=Alex |title=[[The Rest Is Noise]] |date=2008 |publisher=Fourth Estate |isbn=978-1-84115-475-6 |author-link=Alex Ross (music critic)}}
* {{cite book |last=Savenko |first=Svetlana |chapter-url=https://books.google.com/books?id=zrGXd1alyGcC&pg=PA255 |chapter=Stravinsky: The View from Russia |title=Stravinsky and His World |editor-first=Tamara |editor-last=Levitz |translator-first=Philipp |translator-last=Penka |publisher=Princeton University Press |year=2013 |isbn=978-0-691-15987-4}}
* {{Cite book |last=Slim |first=H. Colin |title=Stravinsky in the Americas: Transatlantic Tours and Domestic Excursions from Wartime Los Angeles (1925–1945) |publisher=University of California Press |year=2019 |isbn=978-0-520-29992-4 |url=https://books.google.com/books?id=_J1-DwAAQBAJ&pg=PR3 |page=187}}
* {{cite book |last1=Steinberg |first1=Michael |author1-link=Michael Steinberg (music critic) |title=Choral Masterworks: A Listener's Guide |year= 2005 |publisher=Oxford University Press |location=Oxford |isbn=978-0-19-802921-2 |pages=269–273 |chapter-url=https://books.google.com/books?id=Ex6JR8JBYisC&pg=PA269 |chapter=Stravinsky: Mass}}
* {{cite book |last1=Straus |first1=Joseph N. |url=https://books.google.com/books?id=f9WSc5aLd6IC |title=Stravinsky's Late Music |date=2001 |publisher=Cambridge University Press |isbn=978-0-521-80220-8 |series=Cambridge Studies in Music Theory and Analysis}}
* {{cite book |last=Taruskin |first=Richard |author-link=Richard Taruskin |title=[[The New Grove Dictionary of Opera]]|publisher=Macmillian Press |year=1992a |isbn=978-0-935859-92-8 |editor-last=Sadie |editor-first=Stanley |editor-link=Stanley Sadie |volume=3 |pages=650–652 |chapter=Oepidus rex |chapter-url=https://archive.org/details/newgrovedictiona0003unse_l3f5/page/650/mode/2up}}
* {{cite book |last=Taruskin |first=Richard |author-link=Richard Taruskin |title=The New Grove Dictionary of Opera |publisher=Macmillian Press |year=1992b |isbn=978-0-935859-92-8 |editor-last=Sadie |editor-first=Stanley |editor-link=Stanley Sadie |volume=3 |pages=1220–1223 |chapter=The Rake's Progress |chapter-url=https://archive.org/details/newgrovedictiona0003unse_l3f5/page/1220/mode/2up}}
* {{cite book |last1=Taruskin |first1=Richard |author-link=Richard Taruskin |url=https://archive.org/details/stravinskyrussia0001taru |title=Stravinsky and the Russian Traditions: A Biography of the Works Through Mavra |date=1996 |publisher=University of California Press |isbn=978-0-520-07099-8}}
* {{cite book |last1=Walsh |first1=Stephen |author-link=Stephen Walsh (writer) |url=https://books.google.com/books?id=g2qDY2agomIC |title=Stravinsky: A Creative Spring: Russia and France, 1882–1934 |date=1999 |publisher=University of California Press |isbn=978-0-520-22749-1}}
* {{cite journal |last1=Walsh |first1=Stephen |author-link=Stephen Walsh (writer) |date=20 January 2001 |title=Stravinsky, Igor |journal=[[Oxford Music Online]] |publisher=Oxford University Press |doi=10.1093/gmo/9781561592630.article.52818 |isbn=978-1-56159-263-0 }}
* {{cite book |last1=Walsh |first1=Stephen |author-link=Stephen Walsh (writer) |title=The New Grove Stravinsky |date=2003 |publisher=Macmillian Publishers |isbn=978-0-333-80409-4 |url=https://archive.org/details/newgrovestravins0000wals/mode/2up}}
* {{cite book |last1=Walsh |first1=Stephen |author-link=Stephen Walsh (writer) |url=https://books.google.com/books?id=ZagwDwAAQBAJ |title=Stravinsky: The Second Exile: France and America, 1934–1971 |date=2006 |publisher=University of California Press |isbn=978-0-520-25615-6}}
* {{cite book |last1=White |first1=Eric Walter |url=https://archive.org/details/bwb_KR-403-172/mode/2up |title=European Music in the Twentieth Century |date=1957 |publisher=Pelican Books |editor1-last=Hartog |editor1-first=Howard |language=en |chapter=Stravinsky}}
* {{cite book |last1=White |first1=Eric Walter |url=https://archive.org/details/stravinskycompos0002whit/mode/2up |title=Stravinsky, The Composer and his Works |date=1979 |publisher=University of California Press |isbn=978-0-520-03983-4 |edition=2nd}}
* {{cite book |last1=White |first1=Eric Walter |url=https://books.google.com/books?id=7KdSCWq_XCoC |title=Stravinsky: A Critical Survey, 1882–1946 |date=1997 |publisher=Dover Publications |isbn=978-0-486-29755-2}}
* {{cite encyclopedia |year=1980 |title=Stravinsky, Igor |encyclopedia=[[The New Grove Dictionary of Music and Musicians]] |publisher=Macmillan Publishers |url=https://archive.org/details/newgrovedictiona0018unse_y4t2/page/240/mode/2up |last1=White |first1=Eric Walter |editor1-last=Sadie |editor1-first=Stanley |editor1-link=Stanley Sadie |volume=18 |pages=240–265 |isbn=978-0-333-23111-1 |last2=Noble |first2=Jeremy |author2-link=Jeremy Noble (musicologist)}}
* {{cite book |last=Stravinsky |first=Igor |url=https://archive.org/details/igorstravinskyan002221mbp/mode/2up |title=An Autobiography |publisher=W. W. Norton |orig-year=1936 |isbn=978-0-393-00161-7}} Originally published in English by Gollancz in 1936 as Chronicle of My Life. Various other editions and publishers - 1958, 1962, 1975, 1990.
* {{cite book |last1=Stravinsky |first1=Igor |url=https://archive.org/details/conversationswit00stra/mode/2up |title=Conversations with Igor Stravinsky |last2=Craft |first2=Robert |author2-link=Robert Craft |publisher=Doubleday |orig-year=1959 | year=1980|isbn=978-0-571-11464-1 |edition=1st}}
* {{cite book |last1=Stravinsky |first1=Igor |url=https://archive.org/details/memoriescommenta0000stra/mode/2up |title=Memories and Commentaries |last2=Craft |first2=Robert |author2-link=Robert Craft |publisher=University of California Press |orig-year=1960 | year=1981 |isbn=978-0-520-04402-9}}
* {{cite book |last1=Stravinsky |first1=Igor |url=https://books.google.com/books?id=2weWzRoq3roC&pg=PP1 |title=Expositions and Developments |last2=Craft |first2=Robert |author2-link=Robert Craft |publisher=University of California Press  |orig-year=1962 | year=1981 |isbn=978-0-520-04403-6}}
* {{Cite book |last1=Stravinsky |first1=Vera |author1-link=Vera de Bosset |url=https://archive.org/details/isbn_9780671243821/mode/2up |title=Stravinsky in Pictures and Documents |last2=Craft |first2=Robert |author2-link=Robert Craft |publisher=Simon and Schuster |year=1978 |isbn=978-0-671-24382-1 |ref={{harvid|V. Stravinsky|Craft|1978}}}}
* {{Cite book |author-last1=Strawinsky |author-first1=Théodore |url=https://archive.org/details/stravinskyfamily0000stra/mode/2up |title=Catherine and Igor Stravinsky: A Family Chronicle |author-last2=Strawinsky |author-first2=Denise |publisher=Schirmer Trade Books |year=2004 |isbn=978-0-8256-7290-3 |editor-last=Wenborn |editor-first=Neil |translator-last=Walsh |translator-first=Stephen |author-link1=Théodore Strawinsky |translator-link=Stephen Walsh (writer)}}
{{refend}}

==== Articles and dissertations ====
{{div col|colwidth=30em}}
* {{cite news |last1=Benjamin |first1=George |author-link=George Benjamin (composer) |date=29 May 2013 |title=How Stravinsky's ''Rite of Spring'' has shaped 100 years of music |url=https://www.theguardian.com/music/2013/may/29/stravinsky-rite-of-spring |access-date=15 April 2023 |work=[[The Guardian]]}}
* {{cite journal |last1=Browne |first1=Andrew J. |date=October 1930 |title=Aspects of Stravinsky's Work |journal=[[Music & Letters]] |publisher=[[Oxford University Press]] |volume=11 |issue=4 |pages=360–366 |doi=10.1093/ml/XI.4.360 |issn=0027-4224 |jstor=726868}}
* {{cite journal |last1=Copeland |first1=Robert M. |date=1982 |title=The Christian Message of Igor Stravinsky |journal=[[The Musical Quarterly]] |volume=68 |issue=4 |pages=563–579 |doi=10.1093/mq/LXVIII.4.563 |issn=0027-4631 |jstor=742158}}
* {{cite web |last=Craft |first=Robert |author-link=Robert Craft |date=December 1982 |title=Assisting Stravinsky – On a misunderstood collaboration |url=https://www.theatlantic.com/past/docs/issues/82dec/craft82.htm |work=[[The Atlantic]] |pages=64–74 |access-date=6 April 2023}}
* {{cite thesis |last=Fredrickson |first=Lawrence Thomas |date=1960 |title=Stravinsky's Instrumentation: A Study of his Orchestral Techniques |url=https://www.proquest.com/openview/a0bf69ac97e83779586e4f3d298b8922/1?cbl=18750&diss=y&parentSessionId=4c%2F3Ik2oQ90mQTkk2x2IqxmTd%2FMFXUwtrroI%2FvT4h6k%3D&pq-origsite=gscholar&accountid=196403 |type=Dissertation thesis |publisher=[[University of Illinois]] |access-date=1 June 2024}}
* {{cite magazine |last1=Glass |first1=Philip |author1-link=Philip Glass |date=8 June 1998 |title=The Classical Musician Igor Stravinsky |url=https://content.time.com/time/magazine/article/0,9171,988502,00.html |url-status=live |archive-url=https://web.archive.org/web/20220605141111/https://content.time.com/time/magazine/article/0,9171,988502,00.html |archive-date=5 June 2022 |access-date=6 April 2023 |magazine=[[Time (magazine)|Time]]}}
* {{cite journal | last = Goddard | first = Scott | title = Maurice Ravel: Some Notes on His Orchestral Method | journal = [[Music & Letters]] | date = October 1925 | pages = 291–303 | jstor=725957 | volume=6 | issue = 4 | doi=10.1093/ml/VI.4.291}}
* {{Cite web |title=Grammy Hall of Fame Awards |url=https://www.grammy.com/awards/hall-of-fame-award |access-date=25 May 2024 |website=Grammy Awards|ref={{harvid|Grammy Awards|n.d.b}}}}
* {{cite news |last1=Henahan |first1=Donal |author1-link=Donal Henahan |date=7 April 1971 |title=Igor Stravinsky, the Composer, Dead at 88 |url=https://www.nytimes.com/1971/04/07/archives/igor-stravinsky-the-composer-dead-at-88-shook-music-world-in-1913.html |url-status=live |archive-url=https://web.archive.org/web/20220928175629/https://www.nytimes.com/1971/04/07/archives/igor-stravinsky-the-composer-dead-at-88-shook-music-world-in-1913.html |archive-date=28 September 2022 |access-date=6 April 2023 |work=[[The New York Times]] |page=1}}
* {{cite news |last1=Holland |first1=Bernard |author1-link=Bernard Holland |title=Stravinsky, a Rare Bird Amid the Palms; A Composer in California, At Ease if Not at Home |url=https://www.nytimes.com/2001/03/11/arts/music-stravinsky-rare-bird-amid-palms-composer-california-ease-if-not-home.html |access-date=6 April 2023 |work=[[The New York Times]] |date=11 March 2001 |archive-url=https://web.archive.org/web/20230324222332/https://www.nytimes.com/2001/03/11/arts/music-stravinsky-rare-bird-amid-palms-composer-california-ease-if-not-home.html |archive-date=24 March 2023 |url-status=live}}
* {{Cite web |title=Igor Stravinsky |url=https://www.grammy.com/artists/igor-stravinsky/6686 |access-date=25 May 2024 |website=Grammy Awards |ref={{harvid|Grammy Awards|n.d.a}}}}
* {{Cite web |last=Lengel |first=Edward G. |date=22 April 2017 |title=Igor Stravinsky at the White House |url=https://www.whitehousehistory.org/igor-stravinsky-at-the-white-house |access-date=21 May 2024 |website=[[White House Historical Association]]}}
* {{Cite web |title=Lifetime Achievement Award |url=https://www.grammy.com/awards/lifetime-achievement-awards |access-date=25 May 2024 |website=Grammy Awards|ref={{harvid|Grammy Awards|n.d.c}}}}
* {{cite journal |last1=Matthews |first1=David |date=Winter 1971 |title=Copland and Stravinsky |journal=Tempo |issue=95 |pages=10–14 |doi=10.1017/S0040298200026577 |jstor=944065 |s2cid=145054429}}
* {{cite journal |last1=McFarland |first1=Mark |title='Leit-harmony', or Stravinsky's Musical Characterization in ''The Firebird'' |journal=[[International Journal of Musicology]] |date=1994 |volume=3 |pages=203–233 |publisher=[[Peter Lang (publisher)|Peter Lang]] |issn=0941-9535 |jstor=24618812}}
* {{Cite journal |last=Mellers |first=Wilfrid |author-link=Wilfrid Mellers |date=Summer 1967 |title=Stravinsky and Jazz |journal=[[Tempo (journal)|Tempo]] |issue=81 |pages=29–31 |doi=10.1017/S0040298200034525 |jstor=943884}}
* {{cite web |date= |title=Music from Earth |url=https://voyager.jpl.nasa.gov/golden-record/whats-on-the-record/music/ |access-date=6 April 2023 |website=[[Jet Propulsion Laboratory]] |ref={{harvid|NASA|n.d.}}|publisher=[[NASA]]}}
* {{cite journal |last1=Nandlal |first1=Carina |title=Picasso and Stravinsky: Notes on the Road from Friendship to Collaboration |journal=Colloquy |date=22 May 2017 |issue=22 |pages=81–88 |doi=10.4225/03/5922784a722cd |publisher=[[Monash University]]}}
* {{cite web |last1=Predota |first1=Georg |title=Stravinsky's Literary Sources |url=https://interlude.hk/stravinskys-literary-sources/ |website=Interlude |access-date=23 June 2023 |date=17 March 2021 |ref={{harvid|Predota|2021b}}}}
* {{cite magazine |last=Schiff |first=David |author-link=David Schiff |date=September 1995 |title=Unreconstructed Modernist |url=https://www.theatlantic.com/magazine/archive/1995/09/unreconstructed-modernist/376461/ |access-date=1 June 2023 |magazine=[[The Atlantic]]}}
* {{cite news |last1=Simeone |first1=Lisa |author1-link=Lisa Simeone |last2=Craft |first2=Robert |last3=Glass |first3=Philip |date=1999 |title=Igor Stravinsky |url=https://legacy.npr.org/programs/specials/milestones/990416.motm.stravinsky.html |archive-url= |archive-date= |access-date=24 May 2024 |work=[[Performance Today]] |publisher=[[National Public Radio]] |series=}}
* {{cite journal |last1=Straus |first1=Joseph N. |title=Stravinsky's 'Construction of Twelve Verticals': An Aspect of Harmony in the Serial Music |journal=[[Music Theory Spectrum]] |date=April 1999 |volume=21 |issue=1 |pages=43–73 |doi=10.2307/745920 |jstor=745920}}
* {{cite thesis |last=Szabo |first=Kyle |date=2011 |title=The evolution of style in the neoclassical works of Stravinsky |url=https://commons.lib.jmu.edu/diss201019/83/ |type=Dissertation thesis |publisher=[[James Madison University]] |access-date=4 April 2023}}
* {{cite journal |last=Taruskin |first=Richard |author-link=Richard Taruskin |title=Russian Folk Melodies in ''The Rite of Spring'' |journal=[[Journal of the American Musicological Society]] |date=Autumn 1980 |volume=33 |issue=3 |pages=501–543 |doi=10.2307/831304 |jstor=831304 |issn=0003-0139 |publisher=University of California Press |doi-access=free}}
* {{cite news |last1=Taruskin |first1=Richard |date=25 October 1998 |title=Bartok and Stravinsky: Odd Couple Reunited? |url=https://www.nytimes.com/1998/10/25/arts/bartok-and-stravinsky-odd-couple-reunited.html |access-date=1 June 2023 |work=[[The New York Times]] |page=33}}
* {{Cite magazine |date=14 June 1999 |title=Time 100 Persons Of The Century |url=https://time.com/archive/6735625/time-100-persons-of-the-century/ |access-date=24 May 2024 |magazine=[[Time (magazine)|Time]] |ref={{harvid|Time|1999}}}}
* {{cite web |last=Wilson |first=Elizabeth |title=Rostropovich Encores |website=Hyperion Records |date=2017 |url=https://www.hyperion-records.co.uk/dc.asp?dc=D_CDA68136 |access-date=2024-06-08}}
* {{cite journal |last1=Zak |first1=Rose A. |date=1985 |title={{'}}''L'Histoire du soldat''{{'}}: Approaching the Musical Text |journal=Mosaic: An Interdisciplinary Critical Journal |language=en |volume=18 |issue=4 |pages=101–107 |issn=0027-1276 |jstor=24778812}}
* {{cite journal |last1=Zinar |first1=Ruth |title=Stravinsky and His Latin Texts |journal=College Music Symposium |publisher=College Music Society |date=Fall 1978 |volume=18 |issue=2 |pages=176–188|issn=0069-5696 |jstor=40373983}}
{{refend}}

==External links==
{{Archival records|title=Igor Stravinsky / Robert Craft collection, 1912–1966|location=Music Division, [[Library of Congress]]|description_URL=https://hdl.loc.gov/loc.music/eadmus.mu018011|inventory_number=|dates=|access_conditions=}}

* {{IMSLP|id=Stravinsky, Igor}}
* [https://fondation-igor-stravinsky.org/en/ The Stravinsky Foundation] website
* {{BBC composer page|stravinsky|Stravinsky}}
* {{Internet Archive author |sname=Igor Fyodorovich Stravinsky}}
* {{Discogs artist}}
* {{AllMusic|id=mn0000364751}}

{{Igor Stravinsky|state=collapsed}}
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