Igor Fyodorovich Stravinsky (sometimes spelled Strawinsky or Stravinskii; Russian: Игорь Фёдорович Стравинский, transliterated: Igorʹ Fëdorovič Stravinskij; Russian pronunciation: [ˌiɡərʲ ˌfʲjodɐrɐvʲɪtɕ strɐˈvʲinskʲɪj]; 17 June [O.S. 5 June] 1882 – 6 April 1971) was a Russian, and later French and American composer, pianist and conductor. He is widely considered to be one of the most important and influential composers of the 20th century.

Stravinsky's compositional career was notable for its stylistic diversity. He first achieved international fame with three ballets commissioned by the impresario Sergei Diaghilev and first performed in Paris by Diaghilev's Ballets Russes: The Firebird (1910), Petrushka (1911) and The Rite of Spring (1913). The last of these transformed the way in which subsequent composers thought about rhythmic structure and was largely responsible for Stravinsky's enduring reputation as a musical revolutionary who pushed the boundaries of musical design. His "Russian phase" was followed in the 1920s by a period in which he turned to neoclassical music. The works from this period tended to make use of traditional musical forms (concerto grosso, fugue and symphony). They often paid tribute to the music of earlier masters, such as J.S. Bach and Tchaikovsky. In the 1950s, Stravinsky adopted serial procedures. His compositions of this period shared traits with examples of his earlier output: rhythmic energy, the construction of extended melodic ideas out of a few two- or three-note cells and clarity of form, of instrumentation and of utterance.

Early life in the Russian Empire  

Stravinsky was born on 17 June 1882 in the Russian resort town of Oranienbaum and was brought up in Saint Petersburg. His parents wereFyodor Stravinsky, a bass singer at the Mariinsky Theatre in Saint Petersburg, and Anna (née Kholodovsky). His father was of Polish noble descent, of Strawiński family of Sulima coat of arms. He recalled his schooldays as being lonely, later saying that "I never came across anyone who had any real attraction for me". Stravinsky began piano lessons as a young boy, studying music theory and attempting composition. In 1890, he saw a performance of Tchaikovsky's ballet The Sleeping Beauty at the Mariinsky Theatre. By age fifteen, he had mastered Mendelssohn's Piano Concerto in G minor and finished a piano reduction of a string quartet by Glazunov, who reportedly considered Stravinsky to be unmusical and thought little of his skills.

Despite his enthusiasm for music, his parents expected him to become a lawyer. Stravinsky enrolled to study law at the University of Saint Petersburg in 1901, but he attended fewer than fifty class sessions during his four years of study. In the summer of 1902 Stravinsky stayed with the composer Nikolai Rimsky-Korsakov and his family in the German city of Heidelberg, where Rimsky-Korsakov, arguably the leading Russian composer at that time, suggested to Stravinsky that he should not enter the Saint Petersburg Conservatoire, but instead study composing by taking private lessons, in large part because of his age. Stravinsky's father died of cancer that year, by which time his son had already begun spending more time on his musical studies than on law. The university was closed for two months in 1905 in the aftermath of Bloody Sunday: Stravinsky was prevented from taking his final law examinations and later received a half-course diploma in April 1906. Thereafter, he concentrated on studying music. In 1905, he began to take twice-weekly private lessons from Rimsky-Korsakov, whom he came to regard as a second father. These lessons continued until Rimsky-Korsakov's death in 1908.

In 1905 he was betrothed to his cousin Yekaterina Gabrielovna Nossenko, whom he had known since early childhood. In spite of the Orthodox Church's opposition to marriage between first cousins, the couple married on 23 January 1906: their first two children, Fyodor (Theodore) and Ludmila, were born in 1907 and 1908, respectively.

In February 1909, two orchestral works, the Scherzo fantastique and Feu d'artifice (Fireworks) were performed at a concert in Saint Petersburg, where they were heard by Sergei Diaghilev, who was at that time involved in planning to present Russian opera and ballet in Paris. Diaghilev was sufficiently impressed by Fireworks to commission Stravinsky to carry out some orchestrations and then to compose a full-length ballet score, The Firebird.

Life in Switzerland

Over the next four years, Stravinsky and his family lived in Russia during the summer months and spent each winter in Switzerland, which became a second home to them. During this period, Stravinsky composed three further works for the Ballets Russes—Petrushka, a ballet in four scenes (1911), the two-part ballet The Rite of Spring (1913) and his 'ballet with song' in one act, Pulcinella (1920). He briefly travelled to Russia in July 1914 to collect research materials for his dance cantata Les noces before returning to Switzerland, just before the national borders closed following the outbreak of World War I. He was not to return to his homeland for almost half a century.Stravinsky traveled to Paris in 1910 to attend the final rehearsals and the premiere of The Firebird. His family joined him before the end of the ballet season that year and they decided to remain in the West for a time, as his wife was expecting their third child. They moved to Switzerland, living in Clarens, and later Lausanne where, on 23 September 1910, their second son Sviatoslav Soulima was born. A fourth child, Maria Milena, was born in 1913. While pregnant with Maria Milena, Yekaterina was found to have tuberculosis and was placed in a Swiss sanatorium inLeysin for her confinement.

The family struggled financially during this period. Russia (and its successor the USSR) did not adhere to the Berne convention and this created problems for Stravinsky when collecting royalties for the performances of all his Ballet Russe compositions. Stravinsky blamed Diaghilev for his financial troubles, whom he accused of failing to live up to the terms of a contract they had signed. He approached the Swiss philanthropist Werner Reinhart for financial assistance during the time he was writing Histoire du soldat (The Soldier's Tale). Reinhart sponsored and largely underwrote its first performance, conducted by Ernest Ansermet on 28 September 1918 at the Theatre Municipal de Lausanne. In gratitude, Stravinsky dedicated the work to Reinhart and gave him the original manuscript. Reinhart supported Stravinsky further when he funded a series of concerts of his chamber music in 1919: included was a suite from Histoire du soldat arranged for violin, piano and clarinet, which was first performed on 8 November 1919, in Lausanne. In gratitude to his benefactor, Stravinsky also dedicated his Three Pieces for Clarinet (October–November 1918) to Reinhart, who was an excellent amateur clarinetist.

Life in France

Stravinsky as drawn by Picasso in Paris on 31 December 1920  

Stravinsky moved with his family to France in 1920. He formed a business and musical relationship with the French piano manufacturing company Pleyel. Pleyel essentially acted as his agent in collecting mechanical royalties for his works and provided him with a monthly income and a studio space at its headquarters in which he could work and entertain friends and business acquaintances. Under the terms of his contract with the company, Stravinsky agreed to arrange (and to some extent re-compose) many of his early works for the Pleyela, Pleyel's brand of player piano. He did so in a way that made full use of all of the piano's eighty-eight notes, without regard for human fingers or hands. The rolls were not recorded, but were instead marked up from a combination of manuscript fragments and handwritten notes by Jacques Larmanjat, musical director of Pleyel's roll department. Among the compositions that were issued on the Pleyela piano rolls are The Rite of Spring, Petrushka, The Firebird and Song of the Nightingale. During the 1920s, Stravinsky recorded Duo-Art rolls for the Aeolian Company in both London and New York, not all of which have survived.

Patronage was never far away. In the early 1920s, Leopold Stokowski gave Stravinsky regular support through a pseudonymous 'benefactor'. The composer was also able to attract commissions: most of his work from The Firebird onwards was written for specific occasions and was paid for generously.

Vera Stravinsky

Stravinsky met Vera de Bosset in Paris in February 1921, when she was married to the painter and stage designerSerge Sudeikin, and they began an affair which led to Vera leaving her husband. From then until his wife's death in 1939, Stravinsky led a double life, spending some time with his first family and the rest with Vera. Stravinsky's wife reportedly bore her husband's infidelity "with a mixture of magnaminity, bitterness, and compassion".

After living near Paris for a short while, the Stravinsky family moved to the south of France, becoming French citizens in 1934 and returning to Paris that year, to live at the rue du Faubourg Saint-Honoré. Stravinsky later remembered this last European address as his unhappiest, as his wife's tuberculosis infected both himself and his eldest daughter Ludmila, who died in 1938. Yekaterina, to whom he had been married for 33 years, died of tuberculosis a year later. Stravinsky himself spent five months in hospital, during which time his mother died. During his later years in Paris, Stravinsky had developed professional relationships with key people in the United States: he was already working on his Symphony in C for the Chicago Symphony Orchestra and he had agreed to deliver lectures at Harvard during 1939. A few months after World War II broke out in September 1939, Stravinsky moved to the United States. Vera followed him the following year and they were married in Bedford, Massachusetts on 9 March 1940.

Personality

Stravinsky and Pablo Picassocollaborated on Pulcinella in 1920. Picasso took the opportunity to make several sketches of the composer.

Stravinsky displayed an inexhaustible desire to explore and learn about art, literature and life, which manifested itself in several of his Paris collaborations. Not only was he the principal composer for Diaghilev's Ballets Russes, but he also collaborated with Picasso (Pulcinella, 1920), Jean Cocteau (Oedipus Rex, 1927) and George Balanchine (Apollon musagète, 1928). His taste in literature was wide and reflected his constant desire for new discoveries. The texts and literary sources for his work began with a period of interest in Russian folklore, which progressed to classical authors and the Latin liturgy and moved on to contemporary France (André Gide, in Persephone) and eventually English literature, including Auden, T. S. Eliot and medieval English verse.

According to Robert Craft, Stravinsky remained a confirmed monarchist throughout his life and loathed the Bolsheviks from the very beginning. In 1930, he remarked, "I don't believe that anyone venerates Mussolini more than I ... I know many exalted personages, and my artist's mind does not shrink from political and social issues. Well, after having seen so many events and so many more or less representative men, I have an overpowering urge to render homage to your Duce. He is the saviour of Italy and – let us hope – Europe". Later, after a private audience with Mussolini, he added, "Unless my ears deceive me, the voice of Rome is the voice of Il Duce. I told him that I felt like a fascist myself... In spite of being extremely busy, Mussolini did me the great honour of conversing with me for three-quarters of an hour. We talked about music, art and politics". When the Nazis placed Stravinsky's works on the list of "Entartete Musik", he lodged a formal appeal to establish his Russian genealogy and declared, "I loathe all communism, Marxism, the execrable Soviet monster, and also all liberalism, democratism, atheism, etc.." Towards the end of his life, at Craft's behest, Stravinsky made a return visit to his native country and composed a cantata in Hebrew, travelling to Israel for its performance.

Stravinsky proved adept at playing the part of a 'man of the world', acquiring a keen instinct for business matters and appearing relaxed and comfortable in public. His successful career as a pianist and conductor took him to many of the world's major cities, including Paris, Venice, Berlin, London, Amsterdamand New York and he was known for his polite, courteous and helpful manner. Stravinsky was reputed to have been a philanderer and was rumoured to have had affairs with high-profile partners, such as Coco Chanel. He never referred to it himself, but Chanel spoke about the alleged affair at length to her biographer Paul Morand in 1946; the conversation was published thirty years later. The accuracy of Chanel's claims has been disputed by both Stravinsky's widow, Vera, and by Craft. Chanel's fashion house avers there is no evidence that any affair between Chanel and Stravinsky ever occurred. A fictionalization of the supposed affair formed the basis of the novel Coco and Igor (2002) and a film, Coco Chanel & Igor Stravinsky (2009). Despite these alleged liaisons, Stravinsky was considered a family man and devoted to his children.