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(born: Lomonosov, 17 June 1882; died: New York, 6 April 1971).Russian composer, later of French (1934) and American (1945) nationality. He studied with Rimsky-Korsakov (1902-8), who was an influence on his early music, though so were Tchaikovsky, Borodin, Glazunov and (from 1907-8) Debussy and Dukas. This colourful mixture of sources lies behind The Firebird (1910), commissioned by Dyagilev for his Ballets Russes. Stravinsky went with the company to Paris in 1910 and spent much of his time in France from then onwards, continuing his association with Dyagilev in Petrushka (1911) and The Rite of Spring (1913). These scores show an extraordinary development. Both use folk tunes, but not in any symphonic manner: Stravinsky's forms are additive rather than symphonic, created from placing blocks of material together without disguising the joins. The driving pulsations of The Rite marked a crucial change in the nature of Western music. Stravinsky, however, left it to others to use that change in the most obvious manner. He himself, after completing his Chinese opera The Nightingale, turned aside from large resources to concentrate on chamber forces and the piano.Partly this was a result of World War I, which disrupted the... Read More ... activities of the Ballets Russes and caused Stravinsky to seek refuge in Switzerland. He was not to return to Russia until 1962, though his works of 1914-18 are almost exclusively concerned with Russian folk tales. For the revived Ballets Russes, he produced a startling transformation of 18th-century Italian music (ascribed to Pergolesi) in Pulcinella (1920), which opened the way to a long period of 'neo-classicism', or re-exploring past forms, styles and gestures with the irony of non-developmental material being placed in developmental moulds. During the early 1920s he avoided string instruments because of their expressive nuances, preferring the clear articulation of wind, percussion, piano and even pianola. But he returned to the full orchestra to achieve the starkly presented Handel-Verdi imagery of the opera-oratorio Oedipus rex, and then wrote for strings alone in Apollon musag?¿te (1928). All this while he was living in France, and Apollon, with its Lullian echoes, suggests an identification with French classicism which also marks the Duo concertant for violin and piano and the stage work on which he collaborated with Gide: Pers??phone. However, his Russianness remained deep. He orchestrated pieces by Tchaikovsky, now established as his chosen ancestor, to make the ballet Le baiser de la f??e, and in 1926 he rejoined the Orthodox Church. In 1939, Stravinsky moved to the USA, followed by Vera Sudeikina, whom he had loved since 1921 and who was to be his second wife. In 1940 they settled in Hollywood, which was henceforth their home. Various film projects ensued, though all foundered, perhaps inevitably: the Hollywoo
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