l

67-63150
Stravlnskii
Stravinsky: an autoi iography
KANSAS CITY, MO P^UC LIBRARY

D DOD1 D43fiSda 3
STRAVINSKY
photo by ERIK SCHAAI,
STRAVINSKY:
AN AUTOBIOGRAPHY

SIMON AND SCHUSTER NEW YORK

1956
 A.JL.JL. RIGHTS RESERVED
Copyright 393&y by Simon and, Schttster y Inc.
y

386 Fourth Avenue, Neiu York,

Printed, in the United, States by-

Stratford Press, Inc., New York

At the end of the text following the Index will be

found some portraits and photographs of

Igor Stravinsky

JUN271967
CITY MM PlfPlir LIBRARY
^VVUM/VVVVVVVVV/VVVt/VVVVW

FOREWORD

The aim of this volume is to set down a few recol-

lections connected with various periods of my life. It
is equally intended for those interested in rny music
and in myself. Rather, therefore, than a biography
it will be a simple account of important events side

by side with facts of minor consequence: both, how-

ever, have a certain significance for me, and I wish
to relate them according to the dictates of rny mem-
ory.

Naturally I shall not be able to keep within the

bounds of bare statement. As I my recollections
call

to mind, I shall necessarily be obliged to speak

of my
opinions, my tastes, my preferences, and my abhor-
rences.

I am but too well aware of how much these feel-

ings vary in the course of time. This is why I shall

take great care not to confuse my present reactions

with those experienced at other stages in my life.
 FOREWORD
There are still
further reasons which induce me
to write this book. In numerous interviews I have

given, my thoughts, my words, and even facts have

often been disfigured to the extent of becoming ab-

solutely unrecognizable.
I therefore undertake this task today in order to

present to the reader a true picture of myself, and to

dissipate the accumulation of misunderstandings

that has gathered about both my work and my per-
son.

IGOR STRAVINSKY
PART ONE
^AWVXMWVVVtUAA'VlWVtVVVVW^^

As MEMORY reaches back along the vista of the years,

the increasing distance adds to the difficulty of see-

ing clearly and choosing between those incidents

which make a deep impression and those which,

though perhaps more important in themselves, leave

no trace, and in no way influence one's development.

Thus, one of my earliest memories of sound will

seem somewhat odd.
It was in the country, where my parents, like
most people of their class, spent the summer with
their children. I can see it now. An enormous peas-
ant seated on the stump of a tree. The sharp resinous

tang of fresh-cut wood in my nostrils. The peasant

simply clad in a short red shirt. His bare legs cov-
ered with reddish hair, on his feet birch sandals, on

his head a mop of hair as thick and as red as his

beard not a white hair, yet an old man.
He was dumb, but he had a way of clicking his

[ 3 ]
 STRA FINSKY
tongue very noisily ; and the children
were afraid of
him. So was I. But curiosity used to triumph over
fear. The would gather round him. Then,
children

to amuse them, he would begin to sing. This song

was composed of two syllables, the only ones he

could pronounce. They were devoid of any mean-
ing, but he made them alternate with incredible

dexterity in a very rapid tempo. He used to accom-

pany this clucking in the following way :

pressing
thepalm of his right hand under his left armpit, he
would work his left arm with a rapid movement,
making it press on the right hand. From beneath the
red shirt he extracted a succession of sounds which

were somewhat dubious but very rhythmic, and

which might be euphemistically described as re-

sounding kisses. This amused me beyond words, and

at home I set myself with zeal to imitate this music
so often and so successfully that I was forbidden
to indulge in such an indecent The
accompaniment.
two dull syllables which alone remained thus lost all
their attraction for me.
Another memory which often comes back is the

singing of the women of the

neighboring village.
There were a great many of them, and regularly

[ 4 ]
 STRAVINSKY
every evening they sang in unison on their way
home after the day's work. To this day I clearly re-

member the tune, and the way they sang it., and
how when
;
I used to singhome, imitating their
it at

manner., I was complimented on the trueness of my

ear. This praise made me very happy.
And it is an odd thing that this occurrence., tri-

fling though it seems, has a special significance for

me, because it marks the dawn of my consciousness

of myself in the role of musician.

I will confine myself to those two impressions of

summer, which was always associated with a picture
of the country, and of all the things to be seen and

heard there.
Winter was quite another story town. My
memories of that do not go so far back as those of sum-

mer, and I date them from the time when I was

about three years old. Winter, with its curtailing of

liberty and amusements, with its

rigorous discipline
and interminable length, was not likely to make en-

during impressions.
My parents were not specially concerned with
my musical development until I was nine. It is true

that there was music in the house, my father being the

[ 5 ]
 STRAVINSKY
of the Imperial Opera in St.
leading bass singer
all this music only at a dis-
Petersburg, but I heard
tance from the to which brothers and
my
nursery
I were relegated.
When I was nine my parents gave me a piano

to read music, and,

mistress. I very quickly learned
as the result of reading, soon had a longing to im-

a pursuit to which I devoted myself, and

provise,
which for a long time was my favorite occupation.
There cannot have been anything very interesting
in these improvisations, because I was frequently re-

my time in that way instead

proached for wasting
of practicing properly, but I was definitely of a dif-

ferent opinion, and the reproaches vexed me con-

siderably. Although today I understand and admit

the need of this discipline for a child of nine or ten,

I must say that my constant work at improvisation

was not absolutely fruitless 5 for, on the one hand, it

contributed to my better knowledge of the piano,

and, on the other, it sowed the seed of musical ideas.

Apropos of this, I should like to quote a remark of

Rimsky-Korsakov's that he made later on when I

became his pupil. I asked him whether I was right

in always composing at the piano. "Some compose

[ 6 ]
 STRAVINSKY
at the piano/' he replied, "and some without a piano.
As for you, you will compose at the piano." As a
matter of fact, I do compose at the piano and I do

not regret it. I go further; I think it is a thousand

times better to compose in direct contact with the

physical medium of sound than to work in the ab-

stract medium produced by one's imagination.

Apart from my improvisation and piano-prac-

tice, I found immense pleasure in reading the opera

scores of which my father's library consisted all

the more so because I was able to read with great

facility. My mother also had that gift, and I must

have inherited it from her.Imagine my joy, there-
fore, when for the first time I was taken to the thea-
tre where they were giving an opera with which as
a pianist I was already familiar. It was A Life for

the Tsar, and it was then I heard an orchestra for

the first time. And what an orchestra Glinka's!

The impression was indelible, but it must not be

supposed that this was due solely to the fact that it

was the first orchestra I ever heard. To this day, not

only Glinka's music in itself, but his orchestration

as well, remains a perfect monument of musical art

so intelligent is his balance of tone, so distin-

[ 7 ]
 STRAVINSKY
and by the
guished and delicate his instrumentation;
latter I mean his choice of instruments and his way

of combining them. I was indeed fortunate in hap-

pening on a chef d'ceuvre for my first contact

with
attitude towards
great music. That is why my
Glinka has always been one of unbounded gratitude.
remember having heard another lyrical work
I

that same winter, but it was by a composer of the

second rank Alexander Serov and on that occa-

sion I was impressed only by the dramatic action.
My father had the leading part, a role in which he
was particularly admired by the Petersburg public.
He was a very well-known artist in his day. He
had a beautiful voice and an amazing technique,

acquired in studying by the Italian method at the

St. Petersburg Conservatoire, in addition to great
dramatic talent a rare attribute among opera sin-

gers at that time.

About the same time I heard Glinka's second

opera, Ruslan and Ludmilla, at a gala performance

given to celebrate its fiftieth
anniversary. My father
took the part of Farlaf, which was one of the best in

was a memorable evening for me.

his repertoire. It

Besides the excitement I felt at

hearing this music

[ 8 ]
 STRAVINSKY
that I already loved to distraction., it was my good
fortune to catch a glimpse in the foyer of Peter

Tchaikovsky, the idol of the Russian public., whom

I had never seen before and was never to see again.

He had just conducted the first audition of his new

symphony the Pathetic in St. Petersburg. A fort-
night later my mother took me to a concert where
the same symphony was played in memory of its
composer, who had been suddenly carried off by
cholera. Deeply though I was impressed by the un-

expected death of the great musician, I was far from

realizing at the moment that this glimpse of the liv-

ing Tchaikovsky fleeting though it was would

become one of my most treasured memories. I shall

have occasion my readers more of Tchai-

later to tell

kovsky, of his music, and of my struggles on its be-

half with some of my confreres, who obstinately

persist in a heresy which will not permit them to

recognize as "authentic" Russian music anything

1
outside the work of the Five.

At this point I am simply recording a personal

memory of the celebrated composer, for whom my
Name given to a group composed of Balakirev, Moussorgsky,
1

Borodin, Rimsky-Korsakov, and Cui.

[ 9 ]
 STRAVINSKY
admiration has continued to grow with the develop-
ment of my musical consciousness.
I think that the beginning of my conscious life
as artist and musician dates from this time.
^/VWVWWVIAM/VWVVU*VVV\
WVV^^

I PICTURE the first years of my adolescence as a

series of irksome duties and the perpetual frustra-

tion of all my desires and aspirations. The constraint
of the school to had just gone filled me with
which I

aversion. I hated the classes and tasks, and I was but

a very poor pupil, my lack of industry giving rise to
reproaches which only increased my dislike for the
school and its lessons. Nor did I find any compensa-

tion for all this unpleasantness in those school friend-

ships which might have made things easier. During

all my school life, I never came across anyone who
had any real attraction for me, something essential
being always absent. Was it my fault, or was it sim-

ply bad luck? I cannot say, but the result was that I

felt very lonely. Although was brought up with I

my younger brother, of whom I was very fond, I

was never able to open my heart to him, because, in
the first place, my aspirations were too vague to be

[ 11 ]
 STRA VINSKY
formulated, and, secondly,
in my innermost being I
our mutual affection, that
feared, notwithstanding
there would be misunderstandings which would

have deeply Wounded my pride.

The only place budding ambition
where my
had any encouragement was in the house of my un-
cle lelatchitch,mother's brother-in-law. Both he
my
and his children were fervent music lovers, with a

to champion very advanced work,

general tendency
or what was then considered to be such. uncle My
to the class of society then predominating
belonged
in St. Petersburg, which was composed of well-to-
do landowners, officials of the higher ranks, magis-

trates, barristers, and the like. They all prided

themselves on their liberalism, extolled progress,

and considered it the thing to profess so-called "ad-

vanced" opinions in politics, art,

and all branches

of social life. The reader can easily see from this

what their mentality was like : a compulsory athe-

ism, a somewhat bold affirmation of "the Rights of

Man," an attitude of opposition to "tyrannical"

government, the cult of materialistic science, and,

at the same time, admiration for Tolstoy and his
amateur Christianizing. Special artistic tastes went

[ 12 ]
 STRAVINSKY
with this mentality, and it is easy to see what they
looked for and appreciated in music. Obviously nat-
uralism was the order of the day, pushed to the

point of realistic expression and accompanied; as was

to be expected, by popular and nationalistic tenden-
cies and admiration for folklore. And it was on such

grounds that these sincere music lovers believed that

they must justify their enthusiasm quick and
spontaneous though it was for the works of a

Moussorgsky !

It would, however, be unfair to imply that

had no appreciation of symphonic music
this set 5

Brahms was admired, and a little later Bruckner

was discovered, and a special transcription of Wag-
ner's tetralogy was played as a pianoforte duet. Was

it Glazounov, adopted son of the Five, with his

heavy German academic symphonies, or the lyrical

symphonies of Tchaikovsky, or the epic sympho-

nies of Borodin, or the
symphonic poems of Rimsky-
Korsakov, that imbued this group with its taste for
symphonism? Who can say? But, however that may
be, all these ardently devoted themselves to that

type of music.
It was thanks to this environment that I got to

C 13 ]
 STRA 71NSKY
know the great German composers. As for the
French moderns., they had not yet penetrated into
this and it was only later that I had a chance
circle,

to hear them.
In so far as school life permitted; I used to go
to symphony concerts and to recitals by famous
Russian or foreign pianists ; and in this way I heard
Josef Hofmann, whose serious, precise, and finished

playing filled me with such enthusiasm that I re-

doubled my zeal in studying the piano. Among

other celebrities who appeared in St. Petersburg at

the time, I remember Sophie Menter Eugen <T Al- ?

bert, Reisenauer, and such of our own famous vir-

tuosi as the pianist Annette Essipova, the wife of

Leschetitzky; and the violinist ; Leopold Auer.

There were also great symphonic concerts
given by two important societies the Imperial
Musical Society and the Russian Symphony Con-
certs founded by Mitrophan Belaieff that great ?

patron and publisher of music.

The concerts of the Imperial
Society were
often conducted by Napravnik, whom I already
knew through the Imperial Opera, of which he was
for many years the distinguished conductor. It

[ 14 ]
 STRAVINSKY
seems to me that in spite of his austere conservatism

he was the type of conductor which even today I

prefer to all others. Certainty and unbending rigor

in the exercise of his art 5 complete contempt for all

affectation and showy effects alike in the presenta-

tion of the work and in gesticulation; not the slight-

est concession to the public 5 and added to that, iron

discipline, mastery of the first order, an infallible

ear and memory, and, as a result, perfect clarity

and objectivity in the rendering. . . . What better

can one imagine? Hans Richter, a much better-

known and more celebrated conductor, whom I

heard a little later when he came to St. Petersburg

to conduct the Wagner operas, had the same quali-

ties. He also belonged to that rare type of conductor
whose sole ambition is to penetrate the spirit and the
aim of the composer, and to submerge himself in
the score.

I used to go also to the Belaieff Symphony

Concerts. Belaieff had formed a group of musicians

whom he helped in every way :

giving them mate-
rial assistance, publishing their works and having
them performed at his concerts. The leading fig-
ures in this group were Rimsky-Korsakov and Gla-

C 15 ]
 STRAVINSKY
zounov, who were joined by Liadov and, later on,

Tcherepnin, the brothers Blumenfeld, Sokolov, and

other pupils of Rimsky-Korsakov. This group,

though the offspring of the Five, rapidly changed,

and, perhaps without realizing it, developed a new

school, little by little taking possession of the Con-

servatoire in place of the old academicians who had
directed it since its foundation by Anton Rubin-
stein.

When I got into touch with some of the mem-

bers of this group, its transformation into a new
school had already been accomplished, so that I
found myself confronted by an academy whose aes-
thetics and dogmas were well established, and had
to be accepted or rejected as a whole.
I was then of an age the age of early ap-

prenticeship when the critical faculty is

generally
lacking, and one blindly accepts truths propounded

by those whose prestige is unanimously recognized,

especially when this prestige is concerned with the

mastery of technique and the art of savoir faire.

Thus I accepted their
dogmas quite spontaneously,
and all the more readily because at that time I was
a fervent admirer of
Rimsfcy-Korsakov and Glazou-

[ 16 ]
 STRAVINSKY
nov. I was specially drawn to the former by his me-
lodic and harmonic inspiration, which then seemed
to me full of freshness ; to the latter by his feeling

for symphonic form and 5

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.

It was during these years that I made the ac-

quaintance of Ivan Pokrovsky, a young man, older

than myself , highly cultured, with advanced tastes,

a lover of art in general and of music in particular.

My association with him was very pleasant, because

it relieved the monotony of school life and at the

same time extended the field of my artistic ideas.

He introduced me to authors of whom, till then, I

had known nothing above all to French compos-
ers such as Gounod, Bizet, Delibes, and Chabrier.
Even then I noticed a certain affinity between the
music of these composers and that of Tchaikovsky,
an affinity which I saw much more clearly when,

later, I was able to examine and compare their

works with a more practiced eye. It is true that I

[ 17 ]
 STRA VINSKY
was familiar with those pages of Faust and Carmen
which one heard everywhere, but it was chiefly the
fact that I was always hearing them that had pre-
vented me from consciously forming an opinion of
these musicians. It was only on looking into their

works with Pokrovsky that I discovered in them a

musical language which was unfamiliar to me, and
which differed noticeably from that of the Belaieff

group and its kind. I found in them a different type

of musical writing, different harmonic methods, a

different melodic conception, a freer and fresher

feeling for form. This gave rise to doubts, as yet

what had up till
barely perceptible, with regard to
then seemed unassailable dogma. That is why I am

eternally grateful to Pokrovsky for from my dis-

5

cussions with him dates my gradual emancipation

from the influence that, all unknown to myself, the

academicism of the time was exercising over me. I

must say, however, that for many years to come, in

spite of everything, the domination of this group
was still noticeable in me.

Indeed, I often undertook to defend the prin-

ciples of the group, and in a most peremptory man-

ner, when I came up against the antiquated opinions

[ 18 ]
 STRA VINSKY
of those who did not realize that they themselves

had long since been left behind. Thus I had to

battle with my second piano mistress, a pupil and
admirer of Anton Rubinstein. She was an excellent

pianist and a good musician, but completely ob-

sessed by her adoration for her illustrious master,

whose views she blindly accepted, and I had great

difficulty in making her accept the scores of

Rimsky-Korsakov or of Wagner which at that

period I was fervently studying. But here I must

say that, notwithstanding our differences of opin-
ion, this excellent musician managed to give a new
impetus to my piano playing and to the develop-
ment of my technique. At that moment the ques-
tion of my vocation had not been raised in any defi-

nite form either by my parents or by myself. And

how could one in fact foretell the hazardous course

of a composer's career? My parents, like the major-
ity of their class, therefore, thought above all of

giving me the education necessary to enable me to

obtain a post, administrative or otherwise, which

would assure me a livelihood. That is why, as soon

as I had matriculated, they considered it advisable
that I should study law at the University of St. Pe-

C 19 ]
 STRA FINSKY
tersburg. As for ray inclinations and my predilec-
tions for music, they regarded them as mere ama-
teurism, to be encouraged up to a point, without in
the least taking into consideration the degree to

which my aptitudes might be developed. This now

seems to me quite natural.
The next few years, in which I had to matricu-

late and then to wort at the University, were, as

may well be imagined, by no means attractive from

my point of view, because my interests all lay else-

where. However, at my urgent request, my parents
agreed to give me a teacher of harmony. I therefore

began the study of harmony, but, contrary to all

expectation, I found no satisfaction in it, perhaps

owing to the pedagogical incompetence of my

teacher, perhaps to the method used, and perhaps
and this is most likely to my inherent aversion
toany dry study. Let me make myself clear. I al-
ways did, and still do, prefer to achieve my aims
and any problems which confront me in the
to solve

course of my work solely by my own efforts, with-

out having recourse to established processes which

do, it is
true, facilitate the task, but which must first

be learned and then remembered. To learn and re-

[ 20 ]
 STRAVINSKY
member such things., however useful they might
be, always seemed to me dull and boring I was too
^

lazy for that sort of work, especially as I had little

faith in my memory. If that had been better, I

should certainly have found more interest, and pos-

sibly even pleasure, in it. I insist on the word

*

though some people might find it too

'pleasure/'

light a word for the scope and significance of the

feeling that I am trying to indicate.

But I can experience this feeling of pleasure
in the very process of work, and in looking forward

to the joy that any find or discovery may bring.

And I admit that I am not sorry that this should
have been so, because perfect facility would, of

necessity, have diminished my eagerness in striv-

ing, and the satisfaction of having "found" would

not have been complete.
On the other hand, I was much drawn to the

study of counterpoint, though that is

generally con-
sidered a dry subject, useful only for pedagogical

purposes. From about the age of eighteen I began

to study it no other help than an ordi-
alone, with

nary manual. The work amused me, even thrilled

me, and I was never tired of it. This first contact

C 21 ]
 STRAVINSKY
with the science of counterpoint opened up at once
a far vaster and more fertile field in the domain of

musical composition than anything that harmony

could offer me. And so I set myself with heart and
soul to the task of solving the many problems it

contains. This amused me tremendously, but it was

only later that I realized to what an

extent those

exercises had helped to develop my judgment and

my taste in music. They stimulated my imagina-
tion and my desire to compose $ they laid the foun-
dation of all my future technique; prepared me
thoroughly for the study of form, of orchestration,
and of instrumentation which later I took up with
Rimsky-Korsakov.
I have now reached the period at which I
made the acquaintance of that illustrious com-
poser. When I went to the University I found his

youngest son there, and was very soon on the best

of terms with him. At that time his father hardly

knew of my existence.
In 1902 Rimsky-Korsakov took his whole
family to spend the summer vacation at Heidel-

berg, where one of his sons was a student at the

University. At the same time my mother and I had

[ 22 ]
 STRAVINSKY
gone to Bad Wildungen with ray father, who was
already seriously ill. From, there I rushed over to

Heidelberg to see my fellow student and also to con-

sult his father about my vocation. I told him of my
ambition to become a composer, and asked his ad-
vice. He made me play some of my first attempts.
Alas! the way in which he received them was far
from what I had hoped. Seeing how upset I was,
and evidently anxious not to discourage me, he
asked if I could play anything else. I did so, of

course, and it was only then that he gave his opin-

ion.

He told me that before anything else I must

continue my studies in harmony and counterpoint
with one or other of his pupils in order to acquire

complete mastery in the schooling of craftsman-

ship, but at the same time he strongly advised me
not to enter the Conservatoire. He considered that

the atmosphere of that institution, in which he was

himself a professor, was not suited to me, for I
should be overwhelmed with work, and he sug-

gested I might as well go on with my University

was twenty he feared that I
course. Moreover, as I

might find myself backward in comparison with

C 23 ]
 STRAVINSKY
my contemporaries; and that this might discourage
me. He further considered it necessary that my work
should be systematically supervised, and that this

could be achieved only by private lessons. He fin-

ished by adding that I could always go to him for

to take me in
advice, and that he was quite willing
hand when I had acquired the necessary founda-
tion.

Although in my ingenuousness I was some-

what downcast over the lack of enthusiasm that the
master had shown for my first attempts at composi-

tion, I found some comfort in the fact that he had

nevertheless advised me to continue my studies, and
so demonstrated his opinion that I had sufficient

ability to devote myself to a musical career. This

comforted me all the more because everyone knew
the rigor and frankness of his judgment when his

verdict as to the musical vocation of a was

beginner
required he fully realized the personal responsibil-
:

ity attaching to his great authority. The story was

told of ayoung doctor who came to show him his
compositions and ask for advice. Having learned
that he was a doctor, Rimsky-Korsakov said: "Ex-

cellent. Continue to practice medicine."

 STRAVINSKY
After my interview with the master I had

firmly resolved to devote myself seriously to my

studies with my harmony teacher, but once again I
found that I was thoroughly bored, and felt that I

was making scarcely any progress.

At that moment several circumstances pre-

vented me from working regularly. First there was

the death of my father in November, 1902. Then
there was the desire to live an independent life in
the company of my friends, who formed an ever-

widening circle, largely owing to my association

with the Rimsky-Korsakov family, of whom I saw
as much as possible. In this highly cultured environ-
ment I formed new ties among the young people
whom I met there, all of whom had intellectual in-

terests of one sort or another. There were painters,

young scientists, scholars, enlightened amateurs of

the most advanced views. One of them was my
friend Stepan Mitoussov, with whom later I com-

posed the libretto for my opera, Le RossignoL We

took a passionate interest in everything that went on
in the intellectual and artistic life of the capital.

Diaghileff had just started the publication of his

vanguard review, Mir Iskoustva (The World of

[ 25 ]
 STRAVINSKY
Art), and was organizing his exhibitions of pictures.
At the same time my friends Pokrovsky, Nouvel,

and Nurok founded an interesting musical society

which they called Soirees of Contemporary Music.
It is needless to speak of the importance of these two

groups in my artistic and intellectual evolution, and

how much they strengthened the development of
my creative faculty.

Here I must break the thread of my story in

order to acquaint the reader with the
antagonism
which was inevitably to arise between opinion in
academic circles and the new trend in art which
these two societies stood for. I will not on
expatiate
the aggressive hostility with which the
reactionary
and conservative set in the Academy and the Im-

perial Society for the Encouragement of Art met

the activities of Diaghileff, and
particularly his re-
view Mir Iskoustva
; and God knows what he en-
dured in that struggle! I will touch here
only on the
musicians and their attitude towards the whole of
this new movement. Certainly the majority of the
Conservatoire pedagogues were
against it, and ac-
cused it, of course., of
corrupting the taste of the
younger generation. But I must say, in justice to

[ 26 ]
 STRAVINSKY
Rimsky-Korsakov and Liadov, that, notwithstanding
their disapproval,, they had sufficient courage and
finesse not to make a sweeping condemnation of

everything serious and appreciable that modern art

had to offer.

The following is illustrative of the attitude of

the old master towards Debussy. At a concert where

one of the works was on the program I asked
latter's

Rimsky-Korsakov what he thought of it. He an-

swered in these very words: "Better not listen to

him one runs

j
the risk of getting accustomed to him
and one would end by liking him." But such was not
the attitude of his disciples they were more royal-
ist than the King. The rare exceptions discoverable

among them served only to prove the rule. My rec-

ollection of Liadov is a pleasant one. His head looked

very much like that of a Kalmuck woman, and he

had a gentle, agreeable, and kindly nature. Bent on
clear and meticulous writing, he was very strict with
his pupilsand with himself, composing very little
and working slowly, and, so to speak, under a micro-

scope. He read much, and, considering the atmos-

phere of the Conservatoire where he was a professor,

he was fairly broad-minded.

[ 27 ]
 STRAVINSKY
It was at this period that I became acquainted

with the works of Csar Franck, Vincent d'Indy,

of whose names I
Faure, Paul Dukas, and Debussy,
had hardly heard. Our Academy pretended to know
of widespread
nothing of all these French composers
their works in the pro-
fame, and never included
of the concerts. As the Soirees
grams symphony
big
not the wherewithal
of Contemporary Music had
for giving orchestral performances, we were at that

time able to hear only the chamber music of these

later, at the concerts of
composers. It was
not till

Siloti and those of Koussevitzky, that our public had

a chance to hear their symphonic productions.
The impressions I formed of the work of these
so different from each other, were nat-
composers ;
urally varied. My feelings were already beginning
on the subject of C6sar Franck and his
to crystallize

academic thought, Vincent d'Indy and his scholastic

the one hand, and
yet Wagnerian mentality, on
Debussy on the other, with his extraordinary free-
dom and a freshness of technique that was really
quite new for his period. Next to him Chabrier ap-

pealed most to me, notwithstanding his well-known

Wagnerianism (to my mind a purely superficial and

[ 28 ]
 STRAVINSKY
outward aspect of him) , and my taste for his music

has increased with time.

It must not be imagined that my inclination to-
wards the new tendencies,, of which I have just

spoken., meant any diminution in my adoration for

my old masters, because all the appreciations ex-

pressed above were then only subconsciously germi-

nating; while consciously I felt an imperative need

to get a foothold in my profession. I could achieve
that only by submitting to the discipline of these

masters, and, by implication, to their aesthetics. This

discipline, while of the utmost rigor, was at the same

time most productive, and it was in no way responsi-
ble for the number of mediocrities of the Prix de

Rome type to which our Academy gave birth every

year. But, as I have said, in submitting to their dis-

cipline I was confronted by their aesthetics, from

which it could not be divorced. Indeed, every doc-

trine of aesthetics, when put into practice, demands

a particular mode of expression in fact, a tech-

nique of its own 3 for, in art, such a thing as a tech-

nique founded on no given basis in short, a tech-

nique in the void would be utterly inconceivable 5

and it would be still more difficult to imagine when

[ 29 ]
 STRAVINSKY
a whole group, or school, is under consideration. I

cannot, therefore, reproach my teachers for having

clung to their own aesthetics; they could not have

done otherwise and, 5
as a matter of fact, it was no
hindrance to me. On the other hand, the technical

knowledge that I acquired, thanks to them, gave me

a foundation of incalculable value in its solidity, on
which I was able later to establish and develop my
own craftsmanship. No matter what the subject may
be, there is only one course for the beginner; he
must at first accept a discipline imposed from with-

means of obtaining freedom for,

out, but only as the
and strengthening himself in, his own method of

expression.
About this time I composed a full-sized sonata
for the piano. In this work I was constantly con-
fronted by many difficulties, especially in matters of

form, the mastery of which is usually acquired only

after prolonged study, and my perplexities sug-

gested the idea of my consulting Rimsky-Korsakov

again. I went to see him in the country at the end of

the summer of 1 905, and stayed with him for about

a fortnight. He made me compose the first part of a

sonatina under his supervision, after
having in-

[ 30 ]
 STRAVINSKY
structed me in the principles of the allegro of a
sonata. He explained these principles with a lucidity

so remarkable as to show me at once what a great

teacher he was. At the same time he taught me the

compass and the registers of the different instru-

ments used in contemporary symphonic orchestras.,
and the first elements of the art of orchestration. He
adopted the plan of teaching form and orchestration
side by side, because in his view the more highly de-

veloped musical forms found their fullest expression

in the complexity of the orchestra.

I worked with him in this way he would give

:

me some pages of the piano score of a new opera he

had just finished/ which I was to orchestrate. When

I had orchestrated a section he would show me his
;

own instrumentation of the same passage. I had to

compare them, and then he would ask me to explain

why he had done it differently. Whenever I was un-
able to do so, was he who explained. Thus was es-
it

tablished our association as teacher and pupil., which,

with the beginning of regular lessons in the autumn,

continued for about three years.

Although he was giving me lessons, he never-

1 Pan Voivoda.

[ 31 J
 STRAVINSKY
theless wanted me still to continue my studies of

counterpoint with my former teacher, who was one

of his pupils. But I think that he only insisted for

conscience' sake, and that he realized that these les-

sons would not take me far. Shortly afterwards I

gave them up, though that did not prevent me from

continuing alone the counterpoint exercises, in

which I took more and more interest, and during

that period I filled a thick volume with them. Alas!
it was my country house in Russia, where,
left in

together with my whole library, it disappeared dur-

ing the Revolution.

My work with Rimsky-Korsakov consisted of
his giving me pieces of classical music to orchestrate.

I remember that they were chiefly parts of Bee-

thoven's sonatas, and of Schubert's quartets and
marches. Once a week I took my work to him and he
criticized and corrected it, giving me all the neces-

sary explanations, and at the same time he made me

analyze the form and structure of classical works.
A year and a half later I began the composition of a
symphony. As soon as I finished one part of a move-
ment I used to show it to him, so that my whole

[ 32 ]
 STRAVINSKY
work, including the instrumentation, was under his
control.

I composed this symphony at the time when

Alexander Glazounov reigned supreme in the sci-

ence of symphony. Each new production of his was

received as a musical event of the first order, so

greatly were the perfections of his form, the purity

of his counterpoint, and the ease and assurance of

his writing appreciated. At that time I shared this

admiration whole-heartedly, fascinated by the as-

tonishing mastery of this scholar. It was, therefore,

quite natural that side by side with other influences

(Tchaikovsky, Wagner, Rimsky-Korsakov) his pre-

dominated, and that in my symphony I modeled

myself particularly on him.

At this point the period of my adolescence

came to an end. In the spring of 1 905 I finished my

University course. In the autumn I became engaged,

and I was married in January, 1906.
 ;v/wwvvvwwvvwvwvtvtv\v^.vvxvxwvvvvvvvvvwi/vvvwvvw

AFTER MY marriage I continued my lessons with

Rimsky-Korsakov, the work consisting mainly of my

showing him my compositions and discussing them
with him. During the season of 1906-1907, I fin-

ished my symphony and dedicated it to him. I com-

posed also a little suite for voice and orchestra, Faunc
et Bergere, on three poems by Pushkin in the man-
ner of Parny. Rimsky-Korsakov, who had closely
followed the composition of these two works, wish-

ing to give me the opportunity of hearing them,

arranged with the Court orchestra to have them

performed in the spring of 1907 at a private audi-
tion under the direction of its usual conductor,,

H. Wahrlich.
In the season of!907-19Q8, Faune et
Bergkre
was given in public at one of the Belaieff concerts,

conducted, if I remember by Felix Blumen-

rightly,
f eld. I had two important works in hand at the same

t 34 ]
 STRAVINSKY
time the Scherzo Fantastique and the
: first act of my
opera, Le Rossignol, the libretto of which I had writ-
ten in collaboration with my friend Mitoussov. It

was based on a story by Hans Andersen. This work

was greatly encouraged by my master, and to this

day I remember with pleasure his approval of the

preliminary sketches of these compositions. It

grieves
me much that he was never to hear them in their
finished f orm, for I think that he would have liked

them. Concurrently with this important work, I was

composing two vocal settings for the words of a

young Russian poet, Gorodetsky. He was one of a
group of authors who, by their talent and their
freshness, were destined to put new life into our
somewhat old-fashioned poetry. These two songs
were later called in French La Novice and Sainte
Rosee. They and Pastorale., a song without words,

were given at the Soirees in the winter of 1908.

It was during that winter that my poor master's

health began to fail. Frequent attacks of angina

gave warning that itwas only too likely that the end
was near. I often went to see him, apart from my

lessons, and he seemed to like my visits. He had my

deep affection, and I was genuinely attached to him.

[ 35 ]
 STRAVINSKY
It seems that these sentiments were reciprocated, but
it was only later that I learned so from his family.

His characteristic reserve had never allowed him to

make any sort of display of his feelings.

Before starting for the country, where I gen-

my vacation, my wife and I went to say

erally spent
to him. That was the last time I saw him.
good-by
In my talk with him I told him about a short orches-

tral fantasy, called Feu d*Artifice, that I contem-

plated. He seemed interested, and told me to send it

to him as soon as it was ready. I set to work as soon

as I arrived at Oustiloug, our estate in Volhynia,

with the intention of sending the score to him for
his daughter's wedding, which was shortly to take

place. I finished it in six

weeks and sent it off to

the country place where he was spending the sum-

mer. A few days later a telegram informed me of

his death, and shortly afterwards my registered

packet was returned to me "Not

: delivered on ac-

count of death of addressee." I joined his family at

once in order to attend the funeral, which took place

in St. Petersburg. The service was held in the chapel

of the Conservatoire. His tomb, in the Novodievitchy

Cemetery, is near that of my father.

[ 36 ]
 STRAVINSKY
On returning to the country, and wishing to
pay some tribute to the memory of my master, I
composed a Chant Fun&bre, which was performed
in the autumn, Felix Blumenf eld
conducting, at the
first Belaieff concert, which was dedicated to the

memory of the great musician. The score of this

work unfortunately disappeared in Russia during

the Revolution, along with many other things which

I had left there. I can no longer remember the

music, but I can remember the idea at the root of its

conception, which was that all the solo instruments

of the orchestra filed past the tomb of the master in
succession, each laying down its own melody as its

wreath against a deep background of tremolo mur-

murings simulating the vibrations of bass voices

singing in chorus. The impression made on the pub-
lic, as well as on myself, was marked, but how far
it was due to the atmosphere of mourning and how
far to the merits of the composition itself I am no
longer able to judge.
The presentation of the Scherzo Fantastique
and Feu d'Artifice at the Siloti concerts in the winter

marks a date of importance for the whole future of

my musical career. It was at this point that I began

[ 37 ]
 STRA FINSKY
the close relations with Diaghileff which lasted for

twenty years, right up to his death., and developed

into a deep friendship based on a reciprocal affec-

tion that was proof against the difference of views

or tastes which could not but arise from time to time
in such a long period. Having heard the two com-
positions just mentioned, he commissioned me,
among certain other Russian composers, to orches-

trate two pieces by Chopin for the ballet, Les Syl-

phideSy to be given in Paris in the spring of 1909,

They were the Nocturne with

which the dancing
begins and the False Brillante with which the ballet
closes. I could not go abroad that year, so that it was
not until twelve months afterwards that I first heard
my music in Paris.
These compositions, together with the death of

Rimsky-Korsakov, had interrupted my work on the

first act of my opera, Le RossignoL In the summer
of 1909 I returned to it with the firm intention of

finishing it. There were to be three acts. But cir-

cumstances once again proved too

strong for me. By
the end of the summer the orchestration of the first

act was on returning to town, I meant

finished, and,
to go on with the rest. But a telegram then arrived

[ 38 ]
 STRAVINSKY
to upset all my plans. Diaghileff, who had just
reached St. Petersburg, asked me to write the music

for L'Oiseau de Feu for the Russian Ballet season at

the Paris Opera House in the spring of 1910. Al-

though alarmed by the fact that this was a commis-

sion for a fixed date, and afraid lest I should fail to

complete the work in time I was still unaware of

my own capabilities I accepted the order. It was

highly flattering to be chosen from among the musi-

cians of my generation, and to be allowed to col-
laborate in so important an enterprise side by side

with personages who were generally recognized as

masters in their own spheres.

Here I must interrupt the chronological se-

quence of my story in order to give the reader a

short account of the place which the ballet and bal-
let music occupied in and among
intellectual circles

so-called "serious" musicians in the period immedi-

ately preceding the appearance of the Diaghileff

group. Although our ballet shone then, as always,

by reason of its technical perfection, and although
it filled the theatre, it was only rarely that these
circleswere represented among the audience. They
considered this form of art as an inferior one, espe-

[ 59 ]
 STRAVINSKY
compared with opera, which, though mis-
cially as
handled and turned into musical drama (which is
not at all the same thing) ,
still retained its own pres-
tige. This was particularly the point of view in re-

gard to the music of the classical "ballet, which

contemporary opinion considered to be unworthy of
a serious composer. These poor souls had forgotten
Glinka and his splendid dances in the Italian style
in Ruslan and Ludmilla. It is true that
Rimsky-
Korsakov appreciated them or, rather, forgave
Glinka for them but he himself, in his numerous

operas, definitely gave the preference to character

or national dances. We
must not forget that it was
these very pages of Glinka which inspired the
great
Russian composer, who was the first to bring about
the serious recognition of ballet music in
general
I refer to Tchaikovsky. In the early he had
eighties
had the audacity to compose a ballet for the Grand
Theatre in Moscow, Le Lac des Cygnes, and he had
to pay for his audacity by complete failure with the
ignorant public, which would only admit ballet mu-
sic as
subsidiary and unimportant. His lack of suc-
cess, however, did not prevent the Director of the
Imperial Theatres, Ivan Vsevolojsky a very en-

[ 40 ]
 STRAVINSKY
lightened and cultured aristocrat from commis-

sioning Tchaikovsky to compose another ballet,, The

Sleeping Beauty. It was produced with unprece-
dented lavishness (the production cost eighty thou-
sand rubles) in the presence of the Emperor Alex-
ander III at the Marie Theatre in St.
Petersburg in
December, 1889. This music was as much discussed

by the incorrigible "balletomaniacs" as by the crit-

ics. They considered that it was too symphonic, and

did not lend itself sufficiently to dancing. Neverthe-

less, it made a great impression on musicians, and

completely changed their attitude towards the ballet

in general. Thus, a few years later we see, one after
the other, such composers as Glazounov, Arensky,

and Tcherepnin composing ballets for the Imperial

Theatres.

At the moment when I received Diaghileff's

commission, the ballet had just undergone a great

transformation owing to the advent of a young bal-
let master, Fokine, and the flowering of a whole

bouquet of artists full of talent and originality Pav- :

lova, Karsavina, Nrjinsky. Notwithstanding all my

admiration for the classical ballet and its great mas-

ter, Marius Petipa, I could not resist the intoxication

[ 41 ]
 STRAVINSKY
produced by such ballets as Les Dances du Prince

Igor or Carnaval, the only two of Fokine's produc-

tions that I had so far seen. All this greatly tempted
me, and impelled me to break through the pale and

eagerly seize this opportunity of making close con-

tact with that group of advanced and active artists

of which Diaghileff was the soul, and which had

long attracted me.

Throughout the winter I worked strenuously
at my ballet and that brought me into constant
;

touch with Diaghileff and his collaborators. Fokine

created the choreography of UOiseau de Feu section

by section, as the music was handed to him. I at-

tended every rehearsal with the company., and after

rehearsals Diaghileff, Nijinsky (who was, however,
not dancing in the ballet) ,
and myself generally
ended the day with a fine dinner, washed down with

good claret.

I then had an opportunity of

observing Nijin-
sky at close quarters. He spoke little, and, when he
did speak, gave the impression of
being a very back-
ward youth, whose intelligence was very undevel-
oped for his age. But, whenever this occurred, Dia-
ghileff, who was always beside him, would intervene

[ 42 ]
 STRAVINSKY
and correct him so tactfully that no one noticed his

embarrassing defects. I shall have further occasion

to speak of Nijinsky when describing the part he
took in my other ballets ; either as dancer or chore-

ographer.
Here must say more of Diaghileff, because
I

the close association I had with him during this first

collaboration revealed the very essence of his great

personality. What struck me most was the degree of

endurance and tenacity that he displayed in pursuit
of his ends. His strength in this direction was so ex-

ceptional that was always somewhat terrifying,

it

though at the same time reassuring, to work with

him. It was terrifying because whenever there was

a divergence of opinion it was arduous and ex-

hausting to struggle with him. But it was reassuring

to know that the goal was certain to be reached when
once our differences had been overcome.
The quality of his intelligence and mentality
also attracted me. He had a wonderful flair, a mar-

velous faculty for seizing at a glance the novelty and

freshness of an idea, surrendering himself to it with-

out pausing to reason it out. I do not mean to imply

that he was at all lacking in reasoning power. On the

[ 43 ]
 STRAVINSKY
contrary., his reasoning powers were unerring, and
he had a most rational mind and, though he fre- ;

quently made mistakes or acted foolishly,, it was be-

cause he had been carried away by passion or tem-

perament the two forces predominant in him.

He had at the same time a broad and generous

nature, usually incapable of calculation, and, when
he did calculate, itmeant only that he himself was
penniless. On the other hand, when he was in funds
he spent lavishly on himself and on others. An odd
trait in his character was his strange indifference to-

wards the somewhat dubious honesty of some of

those who were in touch with him even when they
victimized him so long as their dishonesty was off-
set by other qualities. What he most detested were
the commonplace, incapacity, a lack of savoir
faire:
he hated and despised a fool. Strangely enough, in
this highly and shrewd-
intelligent man, efficiency
ness were accompanied by a certain childish ingenu-
ousness. He never bore a grudge. When anyone
swindled him, he was not angry, but would remark

simply, "Well, what of it? He's looking after him-

self."

But to return to my score of UQiseau de Feu;

[ 44 ]
 STRAFINSKY
Iworked strenuously at it, and when I finished it on
time I felt the need of a rest in the country before

going to Paris, which I was to visit for the first time.

Diaghileff, with his company and collabora-

tors, preceded me, so that when I joined them re-

hearsals were in full swing. Fokine elaborated the

scenario, having worked at his choreography with
burning devotion, the more so because he had fallen
in love with the Russian fairy story. The casting

was not what had intended. Pavlova, with her slim

I

angular figure, had seemed to me infinitely better

suited to the role of the fairy bird than Karsavina,

with her gentle feminine charm, for whom I had

intended the part of the captive princess. Though
circumstances had decided otherwise than I had

planned, had no cause for complaint,

I since Karsa-

vina's rendering of the bird's part was perfect, and

that beautiful and gracious artist had a brilliant

success in it.

The performance was warmly applauded by

the Paris public. I am, of course, far from, attribut-

ing this success solely to the score 5

it was equally
due to the spectacle on the stage in the painter Golo-
vin's magnificent setting, the brilliant interpretation

[ 45 ]
 STRA 7INSKY
by Diaghileff 's artists, and the talent of the chore-
ographer. I must admit, however, that the choreog-

raphy of this ballet always seemed to me to be

complicated and overburdened with plastic detail,

so that the artists felt, and still feel even now, great

difficulty in coordinating their steps and gestures

with the music, and this often led to an unpleasant
discordance between the movements of the dance
and the imperative demands that the measure of the
music imposed.

Although the evolution of the classical dance

and its
problems now seem much more me, real to

and touch me more closely than the distant aesthetics

of Fokine, I still consider that I have a right to form
and express the opinion that in the sphere of chore-

ography I prefer, for example, the vigor of the

Dances du Prince Igor, with their clear-cut and

posi-
tive lines, to the somewhat detached designs of
L'Oiseau de Feu.

Returning for a moment to the music, it

gives
me much pleasure to pay grateful tribute to the mas-
tery with which the eminent Gabriel Piern^ con-
ducted my work.
While I was in Paris I had the opportunity of

[ 46 ]
 STRAVINSKY
meeting several persons of importance in the world
of music, such as Debussy, Ravel, Florent Schmitt,

and Manuel de Falla, who were there at that time.

I recall that on the first night Debussy came on to

the stage and complimented me on my score. That
was the beginning of friendly relations which lasted

to the end of his life.

The approbation, and even admiration, ex-

tended to me by the artistic and musical world in

general, but more particularly by representatives of

the younger generation, greatly strengthened me in
regard to the plans which I had in mind for the
future I am thinking in particular of Petroushka,
of which I shall have more to say later.

One day, when

was finishing the last pages
I

of L'Oiseau de Feu in St. Petersburg, I had a fleet-

ing vision which came to me as a complete surprise,

my mind at the moment being full of other things.

I saw in imagination a solemn pagan rite sage eld- :

ers, seated in a circle, watched a young girl dance

herself to death. They were sacrificing her to pro-

god of spring. Such was the theme of the

pitiate the
Sacre du Printemps. I must confess that this vision
made a deep impression on me, and I at once de-

[ 47 ]
 STRAVINSKY
scribed it to my friend, Nicholas Roerich, he being
a painter who had specialized in pagan subjects. He
welcomed my inspiration with enthusiasm, and be-
came my collaborator in this creation. In Paris I told

Diaghileff about it, and he was at once carried away

by the idea, though its realization was delayed by
the following events.

At the end of the Paris season I had a short rest

at the sea,, in which Icomposed two songs to Ver-

laine's words, and at the end of August I went to

Switzerland with my family.

Before tackling the Sacre du Printemps, which

would be a long and difficult task, I wanted to re-

fresh myself by composing an orchestral piece in

which the piano would play the most important part
a sort of Konzert'stuck. In
composing the music,
I had in my mind a distinct
picture of a puppet, sud-

denly endowed with life, exasperating the patience

of the orchestra with diabolical cascades of

arpeg-
gios. The orchestra in turn retaliates with menacing
trumpet blasts. The outcome is a terrific noise which
reaches its climax and ends in the sorrowful and

querulous collapse of the poor puppet. Having fin-

ished this bizarre piece, I
struggled for hours, while

[ 48 ]
 STRAVINSKY
walking beside the Lake of Geneva, to find a title

which would express in a word the character of my

music and, consequently, the personality of this
creature.

One day I leapt for joy. I had indeed found my

title Petroushka, the immortal and unhappy hero
of every fair in all countries. Soon afterwards Dia-

ghileff came to visit me at Clarens, where I was stay-

ing. He was much astonished when, instead of

sketches of the Sacre, I played him the piece I had

just composed and which later became the second

scene of Petroushka. He was so much pleased with it
that he would not leave it alone and began persuad-

ing me to develop the theme of the puppet's suffer-

ings and make it into a whole ballet. "While he re-

mained in Switzerland we worked out together the

general lines of the subject and the plot in accord-

ance with ideas which I suggested. We settled the

scene of action : the fair, with its crowd, its booths,

the little traditional theatre, the character of the

magician, with all his tricks ; and the coming to life

of the dolls Petroushka, his rival, and the dancer

and their love tragedy, which ends with Petroush-

[ 49 ]
 STRAVINSKY
scene
ka's death. I began at once to compose the first
of the ballet, which I finished at Beaulieu, where I

spent the winter with my family. While there, I fre-

quently saw Diaghileff,
who was at Monte Carlo.

entrusted the
By mutual agreement, Diaghileff
whole decor of the ballet, both the scenery and the

costumes, to Benois. Diaghileff soon

went off to St.

Petersburg, whence he wrote at Christmas, asking

me to join him there for a few days, bringing my
music so that Benois and his other collaborators

might see it. I went in some trepidation. The sud-

denness of the transition from the sunny warmth of

Beaulieu to the fog and snow of my native city

struck me with great force.

As soon as I arrived I let my friends hear what
I had so far composed for Petroushka namely, the
first two scenes and the beginning of the third.
Benois immediately began work, and in the spring

he joined us at Monte Carlo, whither Diaghileff and

I had returned.
I little
thought then that I had seen my native
town for the last time St.
Petersburg, the town of
St. Peter, dedicated by Peter the Great to his great
patron saint and not to himself, as was doubtless sup-

[ 50 ]
 STRAVINSKY
posed by the ignorant inventors of the absurd name,
Petrograd.
When I returned to Beaulieu, I resumed work
on my score, but its
progress was interrupted. I be-
came seriously ill with nicotine poisoning, and was
at the point of death, this illness causing a month of

enforced idleness. I was terribly anxious about the

fate of Petroushka, which had at all costs to be ready
for Paris in the spring. Fortunately I recovered my
strength sufficiently to enable me to finish my work
in the ten weeks which remained before the begin-

ning of the season. Towards the end of April I set

out for Rome, where Diaghileff was giving perform-
ances at the Costanzi Theatre during the Interna-

tional Exhibition. There Petroushka was rehearsed,

and there I finished its last pages.
I shall always remember with particular pleas-
ure that spring in Rome, which was seeing for the
I

first time. I stayed at the Albergo d'ltalia with

Benois and the Russian painter, Serov, to whom I

became greatly attached. In spite of my strenuous

work, we found time to make various expeditions

which were very instructive for me, as Benois was
a learned connoisseur in matters of art and history

[ 51 ]
 STRAVINSKY
and had a talent for making the past live, so that
these expeditions provided a veritable education in

which I delighted.

On our arrival in Paris,, rehearsals started voider

the direction of Pierre Monteux, who was for sev-

eral years the conductor of the Russian Ballet. From

an instrumentalist in Colonne's orchestra he had at-

tained the rank of assistant conductor. He knew his

job thoroughly, and was so familiar with the sur-

roundings from which he had risen that he knew

how to get on with his musicians a great asset for
a conductor. Thus he was able to achieve a very

clean and finished execution of my score. I ask no

more of a conductor, for any other attitude on his
part immediately turns into interpretation, a thing
I have a horror of. The interpreter of
necessity can
think of nothing but interpretation, and thus takes

on the garb of a translator ,

traduttore-traditore$
this is an absurdity in
music, and for the interpreter
it is a source of vanity most
inevitably leading to the
ridiculous megalomania.
During the rehearsals I
had the great satisfaction of
seeing that all my in-
tentions with regard to sound effects were amply
confirmed.

[ 52 ]
 STRAVINSKY
At the dress rehearsal at the CMtelet, to which
the Press and the elite of the artistic world had been
invited, I remember that Petroushka produced an im-
mediate effect on everyone in the audience with the

exception of a few hypercritics. One of them it is

true that he was a literary critic actually went up

to Diaghileff and said : "And it was to hear this that

you invited us!" "Exactly/' replied Diaghileff, It is

only fair to add that later on the celebrated critic,

to judge by his praise., seemed to have forgotten this

sally.

I should like at this point to pay heartfelt hom-

age to Vaslav Nijinsky's unsurpassed rendering of
the role of Petroushka. The perfection with which
he became the very incarnation of this charac-
ter was all the more remarkable because the

purely saltatory work in which he usually excelled

was in this case definitely dominated by dramatic

action, music,and gesture. The beauty of the ballet

was greatly enhanced by the richness of the artistic

setting that Benois had created

for it. My faithful

interpreter, Karsavina, swore to me that she would

never relinquish her part as the dancer, which she
adored. But it was a pity that the movements of the

C 55 ]
 STRAVINSKY
crowd had been neglected. I mean that they were

left to the arbitrary improvisation of the performers

instead of being choreographically regulated in ac-

cordance with the clearly defined exigencies of the

music. I regret it all the more because the danses
d* ensemble of the coachmen, nurses, and mummers
and the solo dances must be regarded as Fokine's

finest creations.

As for my present opinion of the music of

Petroushka, I think it will be best to refer the reader

to the pages that I shall devote later to my own ren-

dering of my works, which will necessarily lead me
to speak of them.
And now for the Sacre du Printemps,
As I have already said, when I conceived the

idea, immediately after L'Qiseau de Feu, I became

so much absorbed in the composition of Petroushka
that I had no chance even to sketch preliminary out-
lines.

After the Paris season, I returned to Oustiloug,

our estate in Russia, to devote myself entirely to the
Sacre du Printemps. I found time, however, to com-

pose two melodies to the words of the Russian poet

Balmont. Besides that, also to Balrnont's
words, I

[ 54 ]
 STRAVINSKY
composed a cantata for choir and orchestra Zvez- ;

doliki (The King of the Stars), which I dedicated to

Claude Debussy. Owing, however., to inherent diffi-

culties involved in the execution of this very short

piece, with its important orchestral contingent and
the complexity of its choral writing as regards in-

tonation, it has never been performed.

Although I had conceived the subject of the

Sacre du Printemps without any plot, some plan had
to be designed for the sacrificial action. For this it

was necessary that I should see Roerich. He was

staying at the moment at Talachkino, the estate of

Princess Tenicheva, a great patron of Russian art. I

joined him, and it was there that we settled the vis-

ual embodiment of the Sacre and the definite se-

quence of its began the score on

different episodes. I

returning to Oustiloug, and worked at it through

the winter at Clarens.

Diaghileff made up his mind that year that he

would spare no effort to make a choreographer of

Nijinsky. I do not know whether he really believed

in his choreographic gifts, or whether he thought

that his talented dancing, about which he raved, in-

dicated that he would show equal talent as a ballet

[ 55 ]
 STRAVINSKY
master. However that may be, his idea was to make
Nijinsky compose, under his own strict supervision,

a sort of antique tableau conjuring up the erotic

gambols of a faun importuning nymphs.

At the sug-

gestion of Bakst,
who was obsessed by ancient
Greece, this tableau was to be presented as an ani-
mated bas-relief, with the figures in profile. Bakst

dominated this production. Besides creating the dec-

orative setting and the beautiful costumes, he in-

spired the choreography even to the slightest move-

ments. Nothing better could be found for this ballet
than the impressionist music of Debussy, who, how-

ever, evinced little enthusiasm for the project. Dia-

by dint of his persistence, wrung

ghileff nevertheless,
a half-hearted consent from him, and, after repeated

and laborious rehearsals, the ballet was set afoot and

was produced in Paris in the spring. The scandal
which it produced is a matter of history, but that
scandal was in nowise due to the so-called novelty

of the performance, but to a gesture, too audacious

and too intimate, which Nijinsky made, doubtless

thinking that anything was permissible with an

erotic subjectand perhaps wishing thereby to en-
hance the effect of the production, I mention this

[ 56 ]
 STRAVINSKY
only because it was so much discussed at the time. At
this date the aesthetics and the whole spirit of this
kind of scenic display seem so stale that I have not
the least desire to discuss them further.

Nijinsky had been so busily engaged in mak-

ing his first attempts as ballet master, and in study-
ing new roles, that he obviously had had neither
time nor strength to deal with the Sacre du Prin-

temps, the choreography of which had been en-

trusted to him. Fokine
was occupied with other bal-
lets Ravel's Daphnis et ChloA and Reynaldo

Hahn's Le Dieu Bleu. The production of the Sacre,

the score of which I had meanwhile finished, had
therefore to be put off till the following year. This
allowed me to take a rest and to work without haste
on the orchestration.
When I returned to Paris for the Diaghileff

season, I heard, among other things, the brilliant

score of Maurice Ravel's Daphnis et Chlod, Ravel

having previously given me some idea of it by play-

ing it to me on the piano. Not only is it one of
Ravel's greatest achievements, it is one of the finest

things in French music. If I am not mistaken, it was

in that year, while seated, by Debussy's invitation,

[ 57 ]
 STRA V IN SKY
in his box at the Op6ra Comique, that I heard for

the first time another great French work, Pelleas et

Melisande. I was seeing a good deal of Debussy, and

was deeply touched by his sympathetic attitude to-
wards me and my music. I was struck by the deli-

cacy of his appreciation, and was grateful to him,

among other things, for having observed what so

few had then noticed the musical importance of

the pages which precede the juggling tricks in Pe-

troushka immediately before the final dance of the

marionettes in the first act. Debussy often invited

me to his house, and on one occasion I met there
Erik Satie, whom I already knew by name. I liked

him at once. He was a quick-witted fellow, shrewd,

clever, and mordant. Of his compositions I prefer

above all his Socrate and certain pages of his Parade.

From Paris I went as usual to

Oustiloug for the
summer, and there I
quietly continued my work on
the Sacre. was roused from that peaceful existence
I

by an invitation from Diaghileff to join him at

Bayreuth to hear Parsifal in its hallowed setting. I

had never seen Parsifal on the stage. The

proposal
was tempting, and I accepted it with
pleasure. On
the way I stopped at for twenty-four
Nuremberg

[ 58 ]
 STRAVINSKY
hours and visited the museum. Next day my dear,

portly friend met me at the Bayreuth station and

told me that we were in danger of having to sleep

in the open, as all the hotels were filled to overflow-

ing. We managed,, however, with great difficulty, to

find two servants' rooms. The performance that I

saw there would not tempt me today, even if I were

offered a room gratis. The very atmosphere of the

theatre, its design and its setting, seemed lugubrious.

It was like a crematorium, and a very old-fashioned
one at that, and one expected to see the gentleman
in black who had been entrusted with the task of

singing the praises of the departed. The order to de-

vote oneself to contemplation was given by a blast

humble and motionless, but at the

of trumpets. I sat

end of a quarter of an hour I could bear no more.

My limbs were numb and I had to change my posi-

tion. Crack! Now I had done it! My chair had made
a noise which drew down on me the furious scowls

of a hundred pairs of eyes. Once more I withdrew

into myself, but I could think of only one thing, and
that was the end of the act which would put an end
to my martyrdom. At last the intermission arrived,

and I was rewarded by two sausages and a glass of

[ 59 ]
 STRA VINSKY
beer. But hardly had I had time to light a cigarette
when the trumpet blast sounded again,
demanding
another period of contemplation. Another act to be

got through; when all my thoughts were concen-

trated on my cigarette, of which I had had barely a
managed to bear the second act. Then there
whiff. I

were more sausages, more beer, another trumpet

blast, another period of contemplation, another act

finis!

I do not want to discuss the music of Parsifal

or the music of Wagner in general. At this date it

is too remote from me. What I find

revolting in the
whole affair is the
underlying conception which dic-
tated the principle of work of
putting a
it art on
the same level as the sacred and
symbolic ritual
which constitutes a religious service.
And, indeed, is

not all this

comedy of Bayreuth, with its ridiculous

formalities, simply an unconscious aping of a reli-

gious rite?

Perhaps someone may cite the mysteries of the

Middles Ages in contravention of this view. But
those performances had and
religion as their basis
faith as their source. The spirit of the mystery plays
did not venture bosom of the Church
beyond the

[ 60 ]
 STRAVINSKY
which patronized them. They were religious cere-
monies bordering on the canonical rites, and such
aesthetic qualities as they might contain were
merely accessory and iniintentional, and in no way
affected their substance. Such ceremonies were due
to the imperious desire of the faithful to see the ob-
jects of their faith incarnate and in palpable form
the same desire as that which created statues and

ikons in the churches.

It is high time to put an end, once and for all,

to this unseemly and sacrilegious conception of art

as religion and the theatre as a temple. The follow-

ing argument will readily show the absurdity of

such pitiful aesthetics: one cannot imagine a be-
liever adopting a critical attitude towards a religious

service. That would be a contradiction in terms, the

believer would cease to be a believer. The attitude of

an audience is exactly the opposite. It is not depend-

ent upon faith or blind submission. At a perform-

ance one admires or one rejects. One accepts only

after having passed judgment, however little one

may be aware of it. The critical faculty plays an es-

sential part. To confound these two distinct lines of

thought is to give proof of a complete lack of dis-

C 61 ]
 STRAVINSKY
cernment, and certainly of bad taste. But is it at all

should arise at a time

surprising that such confusion
like the present; when the openly irreligious masses

in their degradation of spiritual values and debase-

ment of human thought necessarily lead us to utter

brutalization? People are, however, apparently fully

aware of the sort of monster to which the world is

about to give birth, and perceive with annoyance

that man cannot live without some kind of cult. An
effort is therefore made to refurbish old cults,

dragged from some revolutionary arsenal, where-

with to enter into competition with the Church.
But to return to the Sacre. To be perfectly

frank, I must say here and now that the idea of

working with Nijinsky filled me with misgiving,

notwithstanding our friendliness and my great ad-
miration for his talent as dancer and mime. His ig-
norance of the most elementary notions of music
was flagrant. The poor boy knew nothing of music.

He could neither read it nor play any instrument,

and his reactions to music were expressed in banal

phrases or the repetition of what he had heard others

say. As one was unable to discoverany individual

impressions, one began to doubt whether he had any.

[ 62 ]
 STRAVINSKY
These lacunae were so serious that his plastic vision,

often of great beauty, could not compensate for

them. My apprehensions can be readily understood,

but I had no choice in the matter. Fokine had disso-

ciated himself from Diaghileff and in any case, con-

,

sidering his aesthetic tendencies, he would doubtless

have refused to work at the Sacre$ Romanov was

busy with Florent Schmitt's Salome; only Nrjinsky
remained, and Diaghileff, still hopeful of making a
ballet master of him, insisted that he should put on
both the Sacre and Debussy's Jeux.

Nijinsky began by demanding such a fantastic

number of rehearsals that it was physically impos-
sible to give them to him. It will not be difficult to

understand why he wanted so many, when I say that

in trying to explain to him the construction of my
work in general outline and in detail I discovered

that I should achieve nothing until I had taught him

the very rudiments of music: values semibreve,

minim, crochet, quaver, etc.

bars, rhythm, tempo,
and so on. He had the greatest difficulty in remem-

bering any of this. Nor was that all. When, in lis-

tening to music, he contemplated movements, it was

always necessary to remind him that he must make

[ 63 ]
 STRAVINSKY
them accord with the tempo, its divisions and values.

It was an exasperating task, and we advanced at a

snail's pace. It was all the more trying because Ni-

jinsky complicated and encumbered his dances be-

yond all reason, thus creating difficulties for the

dancers that were sometimes impossible to over-

come. This was due as much to his lack of experience

as to the complexity of a task with which he was un-
familiar.

Under these conditions I did not want to leave

him to his own devices, partly because of my kindly

feeling for him but partly on account of my work

and considerations as to its fate. I therefore traveled

a great deal so as to attend the rehearsals of the com-

pany, which, throughout that winter, took place in

which Diaghileff was giving
the different towns in

performances. The atmosphere was always heavy

and stormy. It was evident that the poor boy had
been saddled with a task beyond his capacity.
He appeared to be quite unconscious both of his
inadequacy and of the fact that he had been given a
r61e which, to put it
shortly, he was incapable of fill-

ing in so serious an undertaking as the Russian Bal-

let.
Seeing that he was losing prestige with the com-

[ 64 ]
 STRAVINSKY
pany but was strongly upheld by Diaghileff, he
became presumptuous,, capricious, and unmanage-
able. The natural result was a series of painful in-

cidents which seriously complicated matters.

It should not be necessary for me to emphasize
that in writing all this I have not the least desire to

cast any slur on the fame of this magnificent artist.

We were, as I have already said, always on the best

of terms, and I have never ceased to admire his great

talent for dancing and mime. He will always live in

my memory, and I hope in the memory of everyone

who had the good fortune to see him dance, as one
of the most beautiful visions that ever appeared on

the stage.

But now that this great artist is, alas ! the vic-

tim of mental malady, his name belongs to history,

and I should be false to history if, in assessing his
worth as an artist, I perpetuated the confusion which
has arisen between his work as interpreter and as

creator. From what I have said above it should be

obvious that Diaghileff himself is mainly responsible
for that confusion, though that does not in any way
detract from my feeling of deep admiration for my
great departed friend. It is true that I refrained at

C 65 ]
 STRA FINSKY
the time from telling Nijinsky what I thought of his
efforts as a ballet master. I did not like to do so. I had
to spare his self-respect,, and I knew in advance that

his mentality and character would make any such

conversation alike painful and useless. On the other

hand., I had no hesitation in often talking about it to

Diaghileff. He, however, persisted in pushing Nijin-

sky along that path, either because he regarded the

gift of plastic vision as the most important factor in

choreographic art,, or because he kept on hoping that

the qualities which seemed lacking in Nijinsky

would one day or another suddenly manifest them-

selves.

I worked continuously at the score of the Sacre

at Clarens throughout the winter of 1 91 21 915, my

work being interrupted only by interviews with Di-
aghileff, who invited me to the first performances of
UOiseau de Feu and Petroushka in the different

towns of central Europe where the Russian Ballet

was on tour.

My first journey was to Berlin. I very well re-

member the performance before the Kaiser, the Kai-

serin, and their The program consisted of

suite.

Cleopdtre and Petroushka, The Kaiser naturally

[ 66 ]
 STRAVINSKY
gave preference to Cleopdtre, and, in complimenting
Diaghileff ; told him that he would send his Egyp-
tologists to see the ballet and take a lesson from it.
He apparently thought that Bakst's fantastic color-

ing was a scrupulously historical reproduction,, and

that the potpourri of the score was a revelation of
ancient Egyptian music. At another performance,,
when L'Oiseau de Feu was given, I made the ac-

quaintance of Richard Strauss, who came on to the

and expressed great interest in the music.

stage

Among other things, he said something which much

amused me: "You make a mistake in beginning
your piece pianissimo; the public will not listen. You
should astonish them by a sudden crash at the very
start. After that they will follow you and you can
do whatever you like."
It was on that visit to Berlin that I first met

Schonberg, who invited me to an audition of his

Pierrot Lunaire. I did not feel the slightest enthu-

siasm about the aesthetics of the work, which ap-

peared to me to be a retrogression to the out-of-date

Beardsley cult. But, on the other hand, I consider

that the merits of the instrumentation are beyond

dispute.

[ 67 ]
 STRAVINSKY
Budapest, the next town
we visited, made a
inhabitants are
very agreeable impression on me. Its

very open-hearted,, warm, and kindly. Everything

went well there, and my ballets, L'Oiseau de Feu
and Petroushka, had an enormous success. When I

visited the town many years was greatly

later I

moved at being received by the public as an old

friend. It was quite the reverse in Vienna, of which

I retain a somewhat bitter memory. The hostility

with which the orchestra received the music of Pe-

troushka at rehearsals greatly astonished me. I had

not come across anything like it in any country. I

admit that at that time an orchestra as conservative

as that in Vienna might have failed to grasp parts
of my music, but I was far from expecting that its

hostility would be carried to the length of open sabo-

tage at rehearsals and the audible utterance of such

1
coarse remarks as "schmutzige Musik." The en-
tire administration shared this aversion, which was
aimed particularly at the Prussian comptroller of the

Hof oper, for was he who had engaged Diaghilefif

it

and his company and thereby roused the furious

jealousy of the Imperial Ballet of Vienna. I ought to
1
Dirty music.

[ 68 ]
 STRAVINSKY
add that Russians were not very popular in Austria

just then by reason of the somewhat strained polit-

ical situation. Still, in spite of the old-fashioned

tastesand habits of the Viennese, the performance

of Petroushka passed without protest, and even had

a certain success. I was astonished to find a comforter

in the person of a workman whose job it was to lower

and raise the curtain. Seeing that I was upset by my
trouble with the orchestra, this friendly old
man, be-
whiskered in the style of Franz Joseph, patted my
shoulder kindly and said: "Don't let's be down-
hearted. I've been here for fifty-five years, and it's

not the first time that things of that sort have hap-

pened. It was just the same with Tristan." I shall

have something more to say about Vienna later, but

for the moment let us return to Clarens.
While putting the finishing touches to the or-
chestration of the Sacre, I was busy with another
composition which was very close to my heart. In the
summer I had read a little anthology of Japanese lyr-
ics short poems of a few lines each, selected from
the old poets.The impression which they made on
me was exactly like that made by Japanese paintings
and engravings. The graphic solution of problems of

[ 69 ]
 STRA VINSKJ
perspective and space shown by their art incited me
to find something analogous in music. Nothing
could have lent itself better to this than the Russian
version of the Japanese poems, owing to the well-

known fact that Russian verse allows the tonic accent

only. I gave myself up to the task, and succeeded by

a metrical and rhythmic process too complex to be

explained here.
Towards the end of the winter, Diaghileff gave
me another commission. He had decided to give

Moussorgsky's Khovanstchina in the next Paris sea-

son. This opera, as everybody knows, had not been
quite finished by the composer, and Diaghileff asked
me to take it in hand.
Rimsky-Korsakov had already
arranged it in his own manner, and it was in his ver-
sion that it had been published and performed in
Russia.

Diaghileff was not satisfied with Rimsky-Kor-

sakov's general treatment of
Moussorgsky's work,
and began to study the original manuscript of Kho-
vanstchina with a view to
making a new version. He
asked me to undertake the orchestration of such

parts as had not been orchestrated by the

author, and
to compose a chorus for the which Mous-
finale, for

[ 70 ]
 STRAVINSKY
sorgsky had indicated only the theme an authentic
Russian song.
When I saw how much there was to be done,
and still
having to finish the score of the Sacre, I

asked Diaghileff to divide the work between myself

and Ravel. He willingly consented to this, and Ravel
joined me at Clarens so that we might work to-
gether. We agreed that I should orchestrate two
parts of the opera and write the final chorus, while
he undertook the rest. According to Diaghileff' s

plan, our work wasbe amalgamated with the rest

to

of the score, but unfortunately it made the mixture

even more incongruously heterogeneous than Rim-

sky-Korsakov's version, which had been retained in

all essentials, the only difference being a few cuts, a

change in the order of certain scenes, and the substi-

tution of my chorus for his. Apart from the work

mentioned above, Ihad no share in the arrangement
of this version. I have always been sincerely opposed
to the rearrangement by anyone other than the au-
thor himself of work already created, and my oppo-

sition is only strengthened when the original author

is an artist as conscious and certain of what he was

doing as Moussorgsky. To my mind that principle is

[ 71 ]
 STRA VINSKY
as it
asbadly violated in the Diaghileff compilation
was in Rimsky-Korsakov's Meyerbeerization of Boris
Godounov.
While Ravel was at Clarens I played him my
Japanese poems. An epicure and connoisseur of in-
strumental jewelry, and quick to discern the subtle-
ties of writing, he grasped the idea at once and de-
cided to do something similar. Soon afterwards he

played me his delicious Poemes de Mallarmd.

I have now come to the spring season of 1915

in Paris, when the Russian Ballet inaugurated the

opening of the Theatre des Champs-filys^es. It be-

gan with a revival of UOiseau de Feu, and the Sacre
du Printemps was given on May 28 at the evening
performance. The complexity of my score had de-
manded a great number of rehearsals, which Mon-
teux had conducted with his usual skill and atten-
tion. As for the actual performance, I am not in a

position to judge, as I left the auditorium at the first

bars of the prelude, which had at once evoked deri-
sive laughter. I was disgusted. These demonstrations,
became general, provoking
at first isolated, soon

counter-demonstrations and very quickly develop-

ing into a terrific uproar. During the whole per-

[ 72 ]
 STRAVINSKY
formance I was at Nijinsky's side in the wings. He
was standing on a chair, screaming "sixteen, seveft-

teen, eighteen" they had their own method of

counting to keep time. Naturally the poor dancers

could hear nothing by reason of the row in the audi-

torium and the sound of their own dance steps. I had

to hold Nijinsky by his clothes, for he was furious,
and ready to dash on to the stage at any moment and
create a scandal. Diaghileff kept ordering the elec-

tricians to turn the lights on or hoping in that

off,

way to put a stop to the noise. That is all I can

remember about that first performance. Oddly
enough, at the dress rehearsal, to which we had, as

usual, invited a number of actors, painters, musi-

cians, writers, and the most cultured representatives

of society, everything had gone off peacefully, and
I was very far from expecting such an outburst.
Now, after the lapse of more than twenty years,
it is naturally difficult for me to recall in any detail

the choreography of the Sacre without being influ-

enced by the admiration with which it met in the set

known as the avant-garde ready, as always, to wel-

come as a new discovery anything that differs, be it

ever so little, from the deja vu. But what struck me

[ 75 ]
 STRAVINSKY
then, and still strikes me most, about the choreog-
of
raphy, was and is Nijinsky's lack of consciousness
what he was doing in creating it. He showed therein
his complete inability to accept and assimilate those

revolutionary ideas which Diaghileff

had made his

creed, and obstinately and industriously strove to in-

culcate. What the choreography expressed was a

very labored and barren effort rather than

a plastic

realization flowing simply and naturally from what

the music demanded. How far it all was from what I
had desired!

In composing the Sacre I had imagined the

spectacular part of the performance as a series of

rhythmic mass movements of the greatest simplicity

which would have an instantaneous effect on the au-

dience, with no superfluous details or complications

such as would suggest effort. The only solo was to

be the sacrificial dance at the end of the piece. The

music of that dance, clear and well defined, de-
manded a corresponding choreography simple and
easy to understand. But there again, although he
had grasped the dramatic significance of the dance,

Nijinsky was incapable of giving intelligible form

to its essence, and complicated it either by clumsiness

[ 74 ]
 STRAVINSKY
or lack of For it is
understanding. undeniably
clumsy to slow down the tempo of the music in or-
der to compose complicated steps which cannot be

danced in the tempo prescribed. Many choreogra-

phers have that f ault, but I have never known any
who erred in that respect to the same
degree as Ni-
jinsky.
In reading what I have written about the Sacre,
the reader will perhaps be astonished to notice how
little I have said about the music. The omission is

deliberate. It is
impossible, after the lapse of twenty

years, to recall what were the feelings which ani-

mated me in composing it. One can recollect facts or
incidents with more or less exactitude but one can- ;

not reconstitute feelings without the risk of distort-

ing them under the influence of the many changes

that one has meanwhile undergone. Any account I
were to give today of what my feelings were at that
time might prove as inexact and arbitrary as if
someone were interpreting them. It would be
else

something like an interview with me unwarrantably

signed with my name something which has alas ;
!

happened only too often.

One such incident comes to my mind in con-

[ 75 ]
 STRAVINSKY
nection with this very production. Among the most

assiduous onlookers at the rehearsals had been a cer-

charming man, devoted to

tain Ricciotto Canuedo, a
to date. He was at that
everything advanced and up
time a review called Montjoie. When he
publishing
asked me for an interview, I very willingly granted

it. Unfortunately., it appeared in the form of a pro-

nouncement on the Sacre, at once grandiloquent and

my with
naive, and,, to great astonishment, signed

my name. I could not recognize myself, and was

much disturbed by this distortion of my language

and even of my ideas, especially as the pronounce-
ment was generally regarded as authentic, and the
scandal over the Sacre had noticeably increased the

sale of the review. But I was too ill at the time to be

able to set things right.

I did not see the subsequent performances of

the Sacre, nor could I go to see Khovanstchina be-

cause a few days after the notorious first night I fell

ill with typhoid and spent six weeks in a nursing

home.
As for Debussy's Jeux, I clearly remember hav-
ing seen it,
but I cannot be sure whether at the dress
rehearsal or on the first night. I very much liked the

C 76 1
 STRAVINSKY
music, which Debussy had already played to me on
the piano. How well that man played! The anima-
tion and vivacity of the score merited a warmer re-

ception than it got from the public. My mind is a

complete blank with regard to its

choreography.
During the long weeks of my illness, I was the
subject of the most lively and touching solicitude on
the part of my friends. Debussy, De Falla, Ravel,
Florent Schmitt, and Casella all came to see me fre-

quently. Diaghileff called nearly every day, though

he never came into my room, so great was his fear

of contagion. This fear was almost pathological, and

his friends often chaffed him about it. Maurice De-

lage was with me constantly. I was greatly attracted

by his
buoyant disposition, and I much appreciated
the delicacy and penetration of his musical feeling,
to which his compositions alas! far too few in
number bear witness. He was also gifted in many
other ways, so that he was very good company.

On returning to Oustiloug after my illness, I

did not feel strong enough to undertake any impor-

tant work, but, so that I should not be completely

idle, amused myself with the composition of several

small things. I recall writing during the summer

C 77 ]
 STRA VINSKY
three short pieces for voice and piano, called Sou-

venirs de mon Enfance, which I dedicated to my

children. They were melodies that I had invented
and had taken as themes for improvisation to amuse

my companions in earlier years. I had always meant

to give them a definite form ; and took advantage of

my leisure to do so. Some years ago (1923) I made

another version of them for a small orchestral en-
semble ; amplifying them here and there in accord-

ance with the orchestral requirements.

Hardly had I got back to Clarens, with the inten-

tion of spending the winter there as
usual, when I

received from the newly founded Th&tre Libre of

Moscow a request to complete the composition of my
opera, Le RossignoL I hesitated. Only the Prologue
that is to
say, Act I was in existence. It had been
written four years earlier, and my musical language
had been appreciably modified since then. I feared

that in view of my new manner the subsequent

scenes would clash with that
Prologue. I informed
the directors of the Theatre Libre of
my misgivings,
and suggested that they should be content with the

Prologue alone, presenting it as an independent little

[ 78 ]
 STRAVINSKY
lyrical scene. But they insisted upon the entire opera

in three acts, and ended by persuading me.

As there is no action until the second act, I told

myself that it would not be unreasonable if the

music of the Prologue bore a somewhat different

character from that of the rest. And, indeed, the
forest, with its nightingale, the pure soul of the
child who falls in love with its
song ... all this gen-
tle poetry of Hans Andersen's could not be expressed
in the same way as the baroque luxury of the Chi-
nese Court, with its bizarre etiquette, its palace fetes,
its thousands of little bells and lanterns, and the gro-

tesque humming of the mechanical Japanese night-

all this exotic

ingale ... in short, fantasy obviously
demanded a different musical idiom.

I set to work, and it took me all the winter, but

even before I had finished the score the news reached

me that the whole enterprise of the Theatre Libre of
Moscow had collapsed. I could, therefore, dispose
of

the opera as I liked, and Diaghileff, who had been

chagrined to see me working for another theatre,

jumped at the chance, and decided to put it on in his

next season at the Paris Opera House. It was all the

[ 79 ]
 STRA VINSKY
more easy for him because he was to produce Rim-

sky-Korsakov's Le Coq d'Or, and therefore already

had the necessary singers. Benois
created sumptuous
scenery and costumes, and, conducted by
Monteux 7
the opera was performed with the utmost perfection.

I must go back a little to mention something of

great importance to me that happened before the

Paris opera season. I think that it was in the month

of April ; 1914, that both the Sacre and Petroushka

were played for the first time at a concert in Paris,

Monteux being the conductor. It was a brilliant re-

nascence of the Sacre after the Theatre des Champs-

filys^es scandal. The hall was crowded. The audi-

ence, with no scenery to distract them, listened with

concentrated attention and applauded with an en-

thusiasm had been far from expecting and which

I

greatly moved me. Certain critics who had censured

the Sacre the year before now openly admitted
their mistake. This conquest of the public naturally

gave me intense and lasting satisfaction.

About this time I made the acquaintance of
Ernest Ansermet, conductor of the orchestra at

Montreux, who lived at Clarens, quite close to me.

A friendship quickly sprang up between us, and I

[ 80 ]
 STRAVINSKY
remember that it was at one of his rehearsals that he

suggested that I should take the baton and read my

first symphony, which he had included in his pro-

gram, with the orchestra. That was my first attempt

at conducting.

On my return from Paris I settled in the

mountains with my family at Salvan (Valais) . But

I soon had to run over to London to be present at the

performance of Le Rossignol, which Diaghileff was

producing this time, with fimile Cooper as conduc-
tor.

Back again at Salvan, I composed three pieces

for string quartet which I had time to finish before

going to make a short stay at Oustiloug and at Kiev.

Meanwhile I had been thinking of a grand diver-

tissement, or rather a cantata depicting peasant nup-
tials.
Among the collections of Russian folk poems
in Kiev I found many bearing on this subject, and
made a selection from them which I took back with
me to Switzerland.

On my way from Russia via Warsaw, Berlin,

and Basle, I was very conscious of the tense atmos-

phere all over central Europe, and I felt certain

that we were on the eve of serious events. A fort-

C 81 ]
 STRAVINSKY
night later war was declared. As I had been ex-
empted from military service, there was no need for
me to return to Russia, which, though I had no ink-
ling of it ? I was never to see again as I had known it.
/VAW/VVVVVVVVI/VVVVUXVVtrVVVVVVVVVVVX

MY PROFOUND emotion on reading the news of war,

which roused patriotic feelings and a sense of sad-
ness at being so distant from my country, found
some alleviation in the delight with which I steeped

myself in Russian folk poems.

What fascinated me in this verse was not so

much the stories,, which were often crude, or the

pictures and metaphors, always so deliciously unex-

pected, as the sequence of the words and syllables,

and the cadence they create, which produces an

effect on one's sensibilities very closely akin to that

of music. For I consider that music is, by its very na-

ture, essentially powerless to express anything at all,

whether a an attitude of mind, a psycholog-

feeling,
ical mood, a phenomenon of nature, etc. Ex- . . .

pression has never been an inherent property of

music. That is by no means the purpose of its exist-

ence. If, as is nearly always the case, music appears

[ 85 ]
 STRAVINSKY
to express something, this is only an illusion and not
a reality. It is simply an additional attribute which,
by tacit and inveterate agreement, we have lent it,

thrust as a label, a convention in short, an

upon it,

aspect which, unconsciously

or by force of habit, we
have come to confuse with its essential being.

Music is the sole domain in which man realizes

the present. By the imperfection of his nature, man

is doomed to submit to the passage of time to its

categories of past and future without ever being

able to give substance, and therefore stability, to the

category of the present.

The phenomenon of music is
given to us with
the sole purpose of establishing an order in things,

including, and particularly, the coordination be-

tween man and time. To be put into practice, its in-

dispensable and single requirement is construction.

Construction once completed, this order has been at-

tained, and there is

nothing more to be said. It

would be futile to look for, or expect anything else

from it. It is precisely this construction, this achieved

order, which produces in us a unique emotion hav-

ing nothing in common with our ordinary sensa-

tions and our responses to the impressions of daily

C 84 ]
 STRAVINSKY
life. One could not better define the sensation
pro-
duced by music than by saying that it is identical
with that evoked by contemplation of the
interplay
of architectural forms. Goethe
thoroughly under-
stood that when he called architecture petrified
music.

After this digression, which I felt it wise to

interpolate at this point but which far from ex-

hausts my reflections on the subject, into which I

shall have occasion to go more deeply I come back

to the Russian folk poems. I culled a bouquet from

among them all, which I distributed in three dif-

ferent compositions that I wrote one after the other,

elaborating my material for Les Noces. They were

Pribaoutki (translated by Ramuz under the title

Chansons Plaisantes) ,
for voice, with the accompa-

niment of a small orchestra then Les Berceuses du

;

Chat, also for voice, accompanied by three clarinets 5

and, lastly, four little choruses for women's voices

a capella.
In the autumn I returned to Clarens, where
Ansermet who had moved to Lausanne sublet to

me the little house that he had just left, and there I

passed the winter of 1914-1915. I was working at

[ 85 ]
 STRAVINSKY
Les Noces the whole time. Confined to Switzerland
after the declaration of war, I formed there a little

circle of friends, the chief of whom were C. F.

Ramuz, the painter R. Auberjonois, the brothers

Alexandre and Charles Albert Cingria, Ernest An-

sermet, the brothers Jean
and Ren6 Mora, Fernant

Chavennes, and Henri Bischoff.

Our removal to the Vaud, where I lived for

six years,began an important period, to which my

great friend Ramiiz has
devoted a book, Souvenirs

sur Igor Stravinsky. This volume, to which I refer

those interested in that part of my life, testifies to

our deep affection for each other, to those feelings

which each of us found echoed in the other, to the
attachment that we both had for his dear Vaud
country that had brought us together, and to his
deep and understanding sympathy.
Hardly had I settled at Clarens when I received
a pressing appeal from Diaghileff to pay him a visit
at Florence. He, like myself, was
going through a
very difficult time. The war had upset all his plans.
The greater part of his company had dispersed, and
it was necessary for him to arrange regroupings to
enable him to carry on and support himself. In that

[ 86 ]
 STRAVINSKY
painful situation he felt the need for having a friend
at hand to console him, to encourage him, and to

help him with advice.

My own situation was no better. I had to make

all the arrangements for my mother's safe return to
Russia she had spent the summer with us and
for supplying the needs of my wife and four chil-
dren j and, with the slender resources which one
could get from Russia, the maintenance of the fam-

ily became more and more difficult.

Nevertheless, I went to Florence, for I was as

anxious as my friend to share the gloomy thoughts

which obsessed us both. After spending a fortnight

there, I returned to Clarens. But in the course of the

winter, my wife's health, which had been greatly

tried by her recent confinement, decided me to get
her into mountain air, and, after closing our house
at Clarens, we betook ourselves to Chateau d'Oex for

about two months.

My stay there was broken by another journey

to Rome, which I undertook in response to a new
appeal from Diaghileff. It was just at the time of
the terrible earthquake at Avezzano, the repercus-
sions of which we felt even at Chateau d'Oex. In

[ 87 ]
 STRAVINSKY
these circumstances I was a little perturbed at the

thought of leaving my family to go into Italy,

where everyone was still overshadowed by the catas-

shocks. All the
trophe, and apprehensive of further

same, I decided to make the journey.

Diaghileff had taken a furnished apartment in

Rome for the winter, and I joined him there. In my

luggage I had three little pieces for piano duets

(with easy second part) ,

which I had just composed,
dedicating them respectively as follows : the March
to Alfredo Casella; the Valse to Erik Satie; and the
Polka to Diaghileff. I got him to play the second

part of these pieces, and when we reached the Polka

I told him that in composing it I had thought of him
as a circus ringmaster in evening dress and top hat,
cracking his whip and urging on a rider. He was
discountenanced, not quite knowing whether he
ought to be offended, but we had a good laugh over
it
together in the end.

Diaghileff was just then the center of an exten-

sive circle in Rome. Among the new acquaintances
I made I may mention Gerald Tyrwhitt, who later
became Lord Berners. A great lover of art and a cul-
tured musician, he became in succession a
composer

[ 88 ]
 STRAVINSKY
and a painter. Diaghileff later commissioned him to
write the music of the ballet The Triumph of Nep-

tune, which was a great success. I very much en-

joyed his company, his English humor ,

his kindness,

and his charming hospitality. I also saw Prokofiev,

whom Diaghileff had summoned from Russia to dis-
cuss the composition of a ballet he had commissioned.

I had already met Prokofiev in Russia, but during

this stay I had an opportunity to enter into closer

relationship with this remarkable musician, whose

worth is now universally recognized.
Having spent a fortnight in Italy discussing

various projects with Diaghileff, I climbed back

again to the snows of my Chateau d'Oex. My family

and I were quartered in a hotel, in which it was im-

possible for me to was anxious, therefore,

compose. I

to find a piano in some place where I could work in

peace. I have never been able to compose unless sure

that no one could hear me. A music dealer of whom
I made my first inquiries provided me with a sort of

lumber room, full of empty Chocolat Suchard pack-

ing cases, which opened on to a chicken run. It con-

tained a little upright piano, quite new and out of

tune. The cold in this room, which was devoid of

[ 89 ]
 STRA FINSKY
any heating apparatus, was so acute that the piano
it. For two
strings had succumbed to days I tried to
work there in overcoat fur ; cap, and snowboots, with
a rug over my knees. But I could not go on like that.

Finally I found in the village a spacious and com-

fortable room in a house belonging to lower middle-

class folk who were out all day. I had a piano in-
stalled there ; and at last could devote myself to my
work. I was busy at the time with two compositions :

Les Noces and the first sketches of a piece which be-

came the Renard suite. The Russian folklore con-

tinued to entice me, and its

inspirational ideas were
far from exhausted. Renard, like Les Noces and the
vocal pieces already mentioned, had its
origin in
these folk poems, and many pages of this music were
composed on the original texts. The work made
good progress, and I returned to Clarens well satis-

fied with having brought Les Noces to the

point
which I had wanted to reach before the spring.
Once there, I had at once to set about finding
some place in which I could definitely settle myself
with my family. I searched the neighborhood of

Lausanne, and my choice fell upon Morges, a little

[ 90 ]
 STRAVINSKY
town on the banks of the Lake of Geneva, and there

I passed five years of my life.

About the same time that is, in the spring of

1915 Diaghileff came to see me in Switzerland,

and, to my delight, established himself near me and

stayed until the winter. He took Bellerive, a prop-

erty at Ouchy, and I hoped and expected that we

should often see one another. Unfortunately, how-

ever, my younger daughter fell ill with measles soon

after his arrival, and this prevented me from visit-

ing him for several weeks, because, as I have already

explained, his fear of contagion was notorious. At

Ouchy, he was surrounded by a little
group, includ-

ing the dancer Massine, the painters Larionov, Mme

Goncharova, and Bakst, who often came over from
Geneva the famous old dancing master Cecchetti,
5

who was working with Massine; Ansermet, whom

Diaghileff had selected as conductor of the orches-
tra, and a little troupe of artists he had managed to

Everybody was getting ready for the ap-

collect.

proaching season in the United States, for which

Diaghileff was then negotiating.
When all danger of contagion had at length

[ 91 ]
 STRAVINSKY
vanished,, Diaghileff, though not without misgiving,
at last opened his door to me. Then, to recompense
him for the long delay, I played him the first two
tableaux of Les Noces. He was moved, and his
so

enthusiasm seemed so genuine and touching, that

I could not but dedicate the work to him.

Diaghileff had decided that before starting for

America he would give a grand gala performance
in the Paris Opera House for the benefit of the Red

Cross. other ballets, the

Among program was to in-
clude my Oiseau de Feu and Massine's first choreo-

graphic creation, Le Soleil de Minuit, founded on

selectionsfrom Rimsky-Korsakov's opera, Snegour-
otchka. Diaghileff had also been asked to
give a per-
formance for the Red Cross at
Geneva, and he
decided to make the occasion a sort of dress rehearsal
of his new ballet, before going to Paris. He organ-
ized a festival of music and dance at the Geneva
Theatre, and Fflia Litvinne lent her aid and opened
the matinee by
singing the Russian National An-
them. I was to conduct, for the first time in public,
selections from U Oiseau de Feu in the form of a
symphonic suite, and the program included Carnaval
and Soleil de Minuit conducted
by Ernest Ansermet.

[ 92 ]
 STRAVINSKY
The ballets were given in costume, but against a
black backcloth, the scenery being then in Paris.

It was Ansermet's debut, too, as conductor of the

Russian Ballet.

The grand gala in Paris took place soon after-

wards, and went from Geneva with Diaghileff and

I

the whole company. Paris was gloomy in those sinis-

ter days of my first visit since the declaration of war.

But, in spite of that, the Red Cross grand gala was

a triumphant success. It netted four hundred thou-

sand gold francs, making a record. My debut before

the Paris public as conductor of my Oiseau made the

event of importance to me.

Diaghileff was busy preparing for the trip to

America with company. As the Metropolitan
his

Opera House, which had made the contract with

him for the New York season, wanted to see me con-
duct my works, he begged me to go with him, but I
would not risk sailing in the absence of any definite
engagement by the Metropolitan. It was Diaghi-
leff 's first trip to America, and, having an inordi-
nate fear of the sea, he was deeply moved in taking
leave of me. I myself was perturbed about him, be-
cause of the war and the submarine danger.

C 93 ]
 STRAVINSKY
Before returning to Morges, I stayed a few
days more in Paris to see some of my friends,, nota-

bly Princess Edmond de Polignac, who always

showed me much kindness. She took advantage of

my presence in Paris to discuss, among other things,

a little piece for drawing-room presentation which

she proposed to put on at her house as soon as the
war was over. I suggested Renard to her, which, as
I have already said, I had sketched out at Chateau
d'Oex. She was much pleased with the idea, and I
set to work on it as soon as I got back to Merges.
I had a visit shortly afterwards from Nijinsky
and his wife, whom I had not met before. They had
just been released from their internment in Hun-
gary, where the war had caught them, and were in
Switzerland on their way to join the Russian Ballet
in New York. Diaghileff had been working a
long
time for their liberation, and it had at last been
achieved, in spite of innumerable difficulties which
had been overcome only by the energy and extraor-

dinary persistence of my late friend.

Greatly upset at having no news from Amer-
ica, the war having landed me in a situation of

grave pecuniary difficulties, I asked Nijinsky, on

[ 94 ]
 STRAVINSKY
reaching New York, to insist on my engagement
being definitely settled. I was at that time in great

need, and in my ingenuousness even begged Nijin-

sky to make his own participation in the perform-

ances depend upon my engagement. Needless to say,
whatever course was taken, nothing came of it. As
for Diaghileff, I learned later that he was much dis-

tressed at being unable to get the Metropolitan to

engage me, as he had confidently counted upon it,

and it was no less important to him than to me.

So I stayed quietly at Morges, working at

Renard, for which I had temporarily set aside Les

Noces. There was at that time in Geneva a little res-

taurant with a small orchestra of string instruments,

including a cymbalon, on which Aladar Racz ex-

celled. He is a Hungarian, and has since become rec-

ognized as a virtuoso. I was captivated by the in-

strument, which delighted me by its rich, full tone

and by the player's direct contact with the strings

through the little sticks held between his fingers,

and even by its trapezoid shape. I wanted to get one,
and begged Racz to help me by making my wish
known among his associates in Geneva, and, in fact,

he did tell me of an old Hungarian who sold me one

[ 95 ]
 STRAVINSKY
of these instruments. I carried it off to Morges in
and very soon learned to play it well enough
glee,
to enable me compose a part for cymbalon which
to

I introduced into the little orchestra of Renard.

I saw a great deal of Ramuz at this time, as we
were working together at the French translation of
the Russian text of my Pribaoutki, Berceuses du
Chat and Renard. I initiated him into the peculiari-

ties and subtle shades of the Russian language, and

the difficulties presented by its tonic accent. I was

astonished at his insight, his intuitive ability, and
his gift for transferring the spirit and poesy of the
Russian folk poems to a language so remote and dif-
ferent as French.

I was very much wrapped up in this collabora-

tion which cemented still more firmly the bonds of

our friendship and affinity of mind.

I awaited Diaghileff s return from America

with impatience and excitement. He sent me word

in March of his arrival in Spain, and I at once took
train to join him. He told me of the terrible fears

which he had experienced in crossing by an Italian

ship, laden with munitions of war, which had con-

stantly had to change its course by reason of warn-

[ 96 ]
 STRAVINSKY
ings of submarines. They even had a rehearsal of an

alarm, and I still possess a photograph which Dia-

ghileff gave me in which he is wearing his lifesaving
apparatus.
It was my first visit to Spain, and I was struck

by much that I saw directly I crossed the frontier.

First there was the change in railway gauge,, ex-

actly as in Russia. I expected to find different

weights and measures but, not at 5

all!
Although the
railways were different, the metric system prevailed
as in the greater part of the globe. At the very
boundary the smell of frying in oil became percepti-
ble. When I reached Madrid at nine o'clock in the

morning I found the whole town still fast asleep,

and I was received at my hotel by the night watch-
man with lantern in hand. Yet it was spring. The
people rose late, and life was in full swing after
midnight. At a fixed hour every day I heard from

my room the distant sound of a banda playing a

passadoble, and military exercises always apparently

ended with that sort of music. All the little charac-

teristics of the Spaniards' daily life pleased me im-

mensely, and I experienced and savored them with

great gusto. They struck me as marking a vivid

[ 97 ]
 STRAVINSKY
of the impressions gen-
change from the monotony
erallyreceived in passing from one European coun-
of Europe differ far
try to another, for the countries
less among themselves than all them together do
of

from this land on the edge of our continent, where

already one is in touch with Africa.

"I have been waiting for you like a brother/'

were Diaghileff 's first words. And, indeed, I felt all
the pleasure he was experiencing in seeing me again,

for I was a friend upon whose feelings he could rely

and with whom he could let himself go after his

long loneliness. Diaghileff and the new acquaint-

ances I made in Madrid made my stay there very

agreeable. I treasure my recollections of it all the

more because it was then that I met Mme Eugenia

de Errazuris, a Chilean lady who had preserved al-
most intact marks of great beauty and perfect dis-
tinction. The sympathy she showed at our first en-
counter, and which later developed into
unfailing
friendship, touched me deeply, and I enjoyed her
subtleand unrivaled understanding of an art which
was not that of her generation.
While I was in Madrid, Diaghileff was pro-

ducing his ballets at the Royal

Theatre, where

[ 98 ]
 STRAVINSKY
L'Oiseau de Feu and Petroushka were among those

given, and where I had the honor of being presented

to theKing and the two Queens.
I must record the tremendous impression made

on me by Toledo and the Escorial. My two short ex-

cursions to them showed me a Spain for which I

should have searched in vain in historic treatises.

My glimpses of these two places evoked in me vi-

sions not so much of the horrors of the Inquisition

or the cruelties of the days of tyranny as a revela-

tion of the profoundly religious temperament of the

people and the mystic fervor of their Catholicism.;
so closely akin in its essentials to the religious feel-

ing and spirit of Russia. I specially noticed the dif-

ference which exists between the Catholicism of

Spain and that of Rome, which impresses all ob-

servers by the impassive grandeur of its authority.

I found a logical explanation of that difference in
the consideration that the Catholicism of Rome, as

the metropolis and center of Western Christianity,

must necessarily wear a more austere and immuta-

ble aspect than the Catholicism of the outlying coun-

tries.

Do not be astonished if I say nothing about

[ 99 ]
 STRAVINSKY
Spanish folk music. I do not dispute
its distinctive

character, but for me there was no revelation in it.

That, however, did not prevent me from frequent-

ing taverns to spend whole evenings in listening to

the endless preliminary chords of guitar playing

and to a deep-voiced singer with unending breath

trolling forth her long Arab ballad with a wealth of

fioriture.

Throughout the whole summer and autumn I

was busied in finishing the music of Renard and in

adapting Ramuz's French translation to the nota-

tion. At the same time I wrote some little pieces for

piano duets, with an easy right hand, for amateurs

little practiced in the use of the instrument, the
whole burden of the composition being concen-
trated in the left-hand part. I enjoyed
solving this
little
problem, which served as a pendant to the
Trois Pieces Faciles (March, Polka, and Valse) al-

ready mentioned, in which Ihad done exactly the

opposite, making the left hand easy. These little
compositions I called Cinq Pieces Faciles (Andante,

Napolitana, Espagnola, Balalaika, Galop) . I subse-

quently orchestrated them and the three earlier ones,

and, after some years' interval, they appeared in

C 100 ]
 STRAVINSKY
the form of two suites, each containing four
pieces,
for a small orchestra, and they are often found in
symphony concert programs. They are sometimes

played separately, but I prefer to conduct the two in

sequence, as they are designed to complement one
another. In the same period I
composed also the four
choruses for women's voices a capella of which I

spoke in connection with Russian folk poetry, and

likewise three little
songs for children :
Tilim-Bum,
which I orchestrated and slightly amplified at a
later date; Chanson de VOurs, and a Berceuse for my
little
daughter, with my own words. All these vocal

pieceshave been translated into French by Ramuz,

but the two last have not been published.
Some of my friends at that time offered to

bear the cost of publishing several of my composi-

tions. I gave the work to Henn, the Geneva concert
agent, and Renard, Pribaoutki, Berceuses du Chat,
and the two groups of easy pieces for duets thus
made their appearance in the winter of 1 91 61 917.
The attention which I had to give to the publication
of this music, the selection of paper, style of
print-

ing, pagination, cover, and so forth, took no little

time, but also gave me no little enjoyment.

[ 101 ]
 STRAVINSKY
Just before Christinas I had to interrupt every-

thing I was doing. I suffered excruciating pain from

a severe attack of intercostal neuralgia, and there

were moments when I could scarcely breathe. Dr.

Demieville, a professor at Lausanne, pulled me

through^ and at the New Year I began to live again,

but the convalescence was a long one. My legs were

almost paralyzed as the result of my illness, and I

could not move without assistance. I shudder even

now at the thought of what I had to endure.

Before I had fully recovered, Diaghileff , hav-

ing heard that I was ill, came to see me. In the

course of our talks, he proposed that he should
put
on Le Rossignol in ballet form, as he had already
done with Le Coq d'Or. I rejoined with a counter-

proposition. I had been thinking of making a sym-

phonic poem for the orchestra by combining the
music of the second and third acts of Le
Rossignol,
which were homogeneous, and I told
Diaghileff that
I would place that at his disposal if he cared to make
a ballet of it. He warmly welcomed the suggestion,
and I adapted a scenario from Andersen's fairy
story to serve the purpose. I at once set myself to
the arrangement of this
poem, without altogether

[ 102 ]
 STRAVINSKY
setting aside Les Noces, which I had taken up again
with the expectation of finishing it very soon.
Diaghileff had gone to Rome, where he was to

have a Russian Ballet season, and begged me to join

him to conduct L'Oiseau de Feu and Feu d*Artifice,

for the latter of which he had commissioned the

Italian futurist, Balla, to prepare a special dcor with

lighting effects. When I reached Rome in March I

found in the apartment Diaghileff had rented quite

a large assembly gathered round his lavishly hos-

pitable table. There were Ansermet, Bakst, Picasso,

whom I then met for the first time, Cocteau, Balla,
Lord Berners, Massine, and many others. The sea-

son at the Costanzi Theatre opened with a gala per-

formance for the Italian Red Cross, at which I con-
y
ducted L'Oiseau de Feu and Feu d Artifice with the
Balla setting.

The February Revolution had just taken place

in Russia, the Tsar had abdicated, and a Provisional

Government was in power. In normal times a Rus-

sian gala performance would have begun with the

National Anthem, but at that date nothing could

have been more inept than to sing God Save the

Tsar. It was necessary to find some substitute for it,

[ 103 ]
 STRA 7INSKY
and the idea of opening the performance with a

Russian folk song suggested itself to Diaghileff,

who chose the famous Volga Boat Song. But the or-

chestra would have to play it,

and there was no in-

strumentation; it had not been scored. Diaghileff

besought me to get on with it as quickly as possible,

so I had to sacrifice myself, and throughout the

whole night preceding the gala I sat at the piano in

Lord Berners' apartment instrumenting and scoring

the song for the orchestra., dictating it chord by

chord, note by note, to Ansermet, who wrote it

down. The orchestra parts were then quickly copied

out, and in that way I was able to hear my own in-

strumentation, conducted by Ansermet, at the next

morning's rehearsal of the evening program. The

performance in the evening began with the Italian
National Anthem, followed by the Boat Song, in

place of Russia's. I conducted UOiseau de Feu and

Feu d'Artifice with its decor, with special lighting
effects.

I can still recall the big

reception that Diaghi-
leff
gave in the Grand Hotel in the course of my
stay, at which I conducted parts of Petroushka, and

[ 104 ]
 STRAVINSKY
at which there was an exhibition of cubist and futur-
ist pictures by his friends and collaborators.

Diaghileff, Picasso, Massine, and I went on

from Rome to Naples. Ansermet had gone in ad-
vance to prepare for the performances that Diaghi-
leff was to give there.

Instead of the sunshine and azure blue I had

expected at Naples, I found a leaden sky, the sum-

mit of Vesuvius being shrouded in immovable and
ominous mist. happy memories of my
Still, I retain

fortnight in this town, half Spanish and half remi-

niscent of the Near East. The company stayed on to

rehearse Massine's second ballet, The Good-hu-

mored Ladies^ in an appropriate setting with Scar-

latti's music, as orchestrated by Tommasini. Bakst,

the designer of the decor and costumes, had come

for the rehearsals. Massine, who from the beginning

had shown himself to be a ballet master of great

talent, had created an admirable choreographic rep-

resentation of Goldoni's charming story. I took ad-

vantage of my leisure to inspect the town, generally

in Picasso's company. The famous aquarium at-
tracted us more than anything else, and we spent

[ 105 ]
 STRAVINSKY
hours there. We had both been greatly taken by the
old Neapolitan water colors and fairly combed all

establishments in the
1

the little shops and dealers

course of our frequent expeditions.

From Naples I went back to Rome, where I

had a delightful
week with Lord Berners. I shall

never forget the adventure which later befell me in

crossing the frontier at Chiasso on my return to

Switzerland. I was taking my portrait,, which Picasso

had just drawn at Rome and given to me. When the

military authorities examined luggage theymy

found this drawing, and nothing in the world
would
induce them to let it pass. They asked me what it
and when I told them that it was my
represented,

portrait, drawn by a distinguished artist, they ut-

terly refused to believe me. "It is not a portrait, but

a plan," they said. "Yes, the plan of my face, but of

nothing else," I replied. But all my efforts failed to

convince them, and I had to send the portrait, in

Lord Berners' name, to the British Ambassador in

Rome, who later forwarded it to Paris in the dip-

lomatic bag. The altercation made me miss my con-
nection, and I had to stay at Chiasso till next day.
Alas! a cruel and unexpected blow was to over-

[ 106 ]
 STRAVINSKY
whelm me with sorrow just after I reached home.
An old friend of ours who had entered my parents'
;

service before I was born and had looked after me

in my earliest days ;
a friend to whom I was closely
attached and whom I loved as a second mother, was

then living with us at Morges, as I had made her

come to us at the beginning of the war. Not long
after my return., I lunched with Ramuz at his house
in Lausanne and on returning home in his company
I noticed a stranger in tail coat and top hat in my

garden. Surprised, I asked him what he wanted. "It

appears that there has been a death in the house/'

he said. That was how I learned of the loss that had
befallen me. In the space of a few short hours the

bursting of a blood vessel had carried off my old

Bertha. There had not even been time to warn me

at Lausanne.
Several weeks went by in sorrow before I could

resume my work. Change of scene put me on my

feet 'again we went into the mountains for the

summer, to Diablerets. But I had scarcely got back

to work when I had the shock of a new grief. A tele-

gram from Russia informed me that my brother, in

the army on the Roumanian front, had just sue-

[ 107 ]
 STRAVINSKY
cumbed to typhus. I had not seen him for a long

time, as he had been living in Russia and I abroad,

but, though our lives had been very diverse, I had

remained deeply attached to him, and the news of
his death brought me acute grief.

During this difficult time I was fortunately

able to find some distraction in the frequent visits

of such friends as Ramuz, Berners, Diaghileff, and

Ansermet. I continued working at the last scene of
Les Noces during the summer, and I finished a piece
for the pianola. Many of the musicians who had
preceded me in visiting Spain had, on their
return,
put their impressions on record in works devoted to
the music they had heard there, Glinka having far
outshone the rest with his La Jota
incomparable
Aragonaise and Une Nuit a Madrid. It was probably
in order to conform to this custom that
I, too, paid
tribute to it. The whimsicalities of the unexpected
melodies of the mechanical
pianos and rattletrap or-
chestrinas of the Madrid streets and the little
night
taverns served as theme for this piece, which I wrote
expressly for the pianola, and which was published
as a roll
by the London JSolian Company. Subse-

[ 108 ]
 STRAVINSKY
quently I orchestrated this piece, which was called

Madrid, and formed part of my Quatre fitudes pour

Orchestre, the three others being the three pieces

originally written as quartets in 1914.

[ 109 ]
WMMMWVMMMMMMMMAMMMM

THIS PERIOD, the end of 1 91 7, was one of the hard-

est I have ever experienced. Overwhelmed by the
successive bereavements that I had suffered., I was
now also in a position of the utmost pecuniary dif-

ficulty. The Communist Revolution, which had just

triumphed in Russia, deprived me of the last re-

sources which had still from time to time been reach-

ing me from my country, and I found myself, so to

speak, face to face with nothing, in a foreign land
and right in the middle of the war.
It was imperative to find some way of ensuring
a tolerable existence for my family. My only con-
solation was to see that I was not alone in suffering
from these circumstances. My friends Ramuz, An-
sennet, and many others were all in equally strait-
ened circumstances. We often met and sought fever-
ishly for some means of escape from this
alarming
situation. It was in these talks that Ramuz and I got

[ 110 ]
 STRA FINSKY
hold of the idea of creating a sort of little
traveling
theatre, easy from place to place and
to transport to

show in even small localities. But for that we had to

have funds, and these were absolutely lacking. We

discussed this mad enterprise with Ansermet, who

was to become its orchestra leader, and with Auber-

jonois, whose province was to be the decor and cos-

tumes. We elaborated our project to the last detail,

even to the itinerary of the tour, and all this on

empty pockets. We had to find a wealthy patron or

a group who could be persuaded to interest them-

selves in our scheme. It was, alas! no easy matter.

Refusals not always polite, but always categoric,

greeted us every time. At last, however, we had the

good fortune to meet someone who not only prom-

ised to collect the requisite capital, but entered into

our plan with cordiality and sympathetic encourage-

ment. It was M. Werner Reinhart of Winterthur,

famous for his broad intellectual culture and the

generous support that he and his brothers extended

to the arts and to artists.

Under this patronage, we set ourselves to work.

Afanasyev's famous collection of Russian tales, in

which I was then deeply absorbed, provided me with

c in j
 STRAVINSKY
the subject of our performance. I introduced them
to Ramuz, who was very responsive to Russian f oik-

lore, and immediately shared my enthusiasm. For

the purpose of our theatre we were particularly

drawn to the cycle of legends dealing with the ad-
ventures of the soldier who deserted and the Devil

who inexorably conies to carry off his soul. This

cycle was based on folk stories of a cruel period of

enforced recruitment under Nicholas I, a period
which also produced many songs known as Rekrout-
skia y which expatiate in verse on the tears and lam-
entations of women robbed of their sons or sweet-
hearts.

Although the character of their subject is

spe-
cifically Russian, these songs depict situations and
sentiments and unfold a moral so common to the

human race as to make an international appeal. It

was this essentially human aspect of the tragic story
of the soldier destined to become the prey of the
Devil that attracted Ramuz and myself.
So we worked at our task with great zest, re-

minding ourselves frequently of the modest means

at our disposal to it to completion. I knew only
carry
too well that so far as the music was concerned I

[ 112 ]
 STRAVINSKY
should have to be content with a very restricted or-
chestra. The easiest solution would have been to use

some such polyphonic instrument as the piano or

harmonium. The latter was out of the question,
chiefly because of its dynamic poverty, due to the

complete absence of accents. Though the piano has

polyphonic qualities infinitely more varied, and of-

fers many particularly dynamic possibilities, I had
to avoid it for two reasons : either my score would
have seemed like an arrangement for the piano, and
that would have given evidence of a certain lack of
financial means, which would not have been at all

in keeping with our intentions, or I should have had

to use it as a solo instrument, every possi-
exploiting

bility of its technique. In other words, I should have

had to be specially careful about the "pianism" of

my score, and make it into a vehicle of virtuosity, in

order to justify my choice of medium. So there was

nothing for it but to decide on a group of instru-

ments, a selection which would include the most rep-

resentative types, in treble and bass, of the instru-
mental families : for the strings, the violin and the

double bass; for the wood, the clarinet, because it

has the biggest compass, and the bassoon 5

for the-
 STRAVINSKY
brass,trumpet and trombone,, and, finally, the per-
cussion manipulated by only one musician, the

whole, of course, under a conductor.

Another con-
sideration which made this idea particularly attrac-

tive to me was the interest afforded to the spectator

by being able to see these instrumentalists each play-

ing his own part in the ensemble. I have always had

a horror of listening to music with my eyes shut,
with nothing for them to do. The sight of the ges-
tures and movements of the various parts of the

body producing the music is fundamentally neces-

sary if it is to be grasped in all its fullness. All music
created or composed demands some exteriorization
for the perception of the listener. In other words, it

must have an intermediary, an executant. That being

an essential condition, without which music cannot

wholly reach us, why wish to ignore it, or try to do

so why shut the eyes to this fact which is inherent

in the very nature of musical art?
Obviously one
frequently prefers to turn away one's eyes, or even

close them, when the superfluity of the player's ges-

ticulations prevents the concentration of one's facul-

ties of
hearing. But if the player's movements are
evoked solely by the exigencies of the
music, and do
 STRAVINSKY
not tend to make an impression on the listener by
extramusical devices, why not follow with the eye
such movements as those of the drummer., the violin-

ist, or the trombonist, which facilitate one's auditory

perceptions? As a matter of fact, those who maintain

that they only enjoy music to the full with their

eyes shut do not hear better than when they have

them open, but the absence of visual distractions en-
ables them to abandon themselves to the reveries in-

duced by the lullaby of its sounds, and that is really

what they prefer to the music itself.

These ideas induced me to have my little or-

chestra well in evidence when planning UHistoire

d'un Soldat. It was to be on one side of the stage 7
and a small dais for the reader on the other. This

arrangement established the connection between the

three elements of the piece which by their close co-

operation were to form a unity : in the center , the

stage and the actors, on one side of them the music,

and, on the other, the reader. Our idea was that the
three elements should sometimes take turns as solo-

ists and sometimes combine as an ensemble.

We worked hard at UHistoire d'un Soldat dur-
ing all the early part of 1 9 1 8, as we intended to pro-
 STRAVINSKY
duce it in the summer. My uninterrupted collabora-
tion with Ramuz was the more precious to me
because our friendship, growing closer and closer,

helped me to bear the difficult times through which

I was living, sickened and, as a patriot, desperately

humiliated, as I was by the monstrous Peace of

Brest-Litovsk. When we had finished writing the

Soldat, a lively and amusing time ensued. We had

to arrange for its staging, and for that we had first
of all to find actors. By good luck it happened that
George and Ludmila Pitoeff were at Geneva just
then, and lent us their valuable assistance $ he as the
Devil in his dancing scenes, and she as the Princess.

Two more actors were needed for the role of the

Soldier and of the Devil where he was only
acting.
We required also a reader, and we found all three

among the Lausanne University students. Gabriel

Rossel took the part of the Soldier, Jean Villard that

of the Devil, and the young geologist, Elie Gagne-

bin, became the reader.
After a great many rehearsals for the actors,
for the musicians, and for the Princess' dances,
which Mme Pitoeff and I evolved together, we
reached the moment to which we had so eagerly

[ H6 ]
 STRAVINSKY
looked forward, and on September 28, 1918, the first

performance was given at the Lausanne Theatre.

I had always been a sincere admirer of Ren6

Auberjonois' drawing and painting, but I had not

expected that he would give proof of such subtle

imagination and such complete mastery as he did in

the scenery and costumes, and the whole artistry of

his setting. Among our other collaborators I had had

the good fortune to discover one who later became
not only a most faithful and devoted friend, but also
one of the most reliable and understanding execu-
tants of my compositions : I mean Ansermet.
I had already recommended him to Diaghileff

to take the place of Pierre Monteux, who, greatly

to our regret, had had to leave us up the di-
to take

rection of the Boston Symphony Orchestra, and I

valued very highly his admirable gifts of musician-

ship, the firmness of his conducting, and his broad

general culture, but up to that time 1 had not been

able to form a definite opinion of him as conductor

of my own works.
He was frequently absent, and it was, there-

fore, only rarely and by chance that I had had any

opportunity of hearing him conduct my music 5

and

[ 117 ]
 STRA VINSKJ
the few isolated renderings I had heard, good though
sufficient to show me what
they were, had not been
an admirable conductor he was to become, and
how

faithfully he could transmit my musical thought to

the public, without ever falsifying it by personal or
as I have already said,
arbitrary interpretation. For,
music should be transmitted and not interpreted, be-
cause interpretation reveals the personality of the

interpreterrather than that of the author, and who

can guarantee that such an executant will reflect

the author's vision without distortion?

An executant's talent lies precisely in his fac-

what is actually in the score, and cer-

ulty for seeing
to find there what he
tainly not in a determination
would like to find. This is Ansermet's greatest and

most precious quality, and it particularly revealed

itself while we were studying the score of the Soldat.

From that moment dates an intellectual understand-

has only increased and

ing between us which time
strengthened.
His reputation as a perfect executant of my
works is well established, but I have always been

astonished that many apparently cultured people,

who admire his execution of contemporary music,

[ 118 ]
 STRAVINSKY
do not pay enough attention to the way in which he
renders the works of days gone by. Ansermet is one
of the conductors who emphatically confirm my
long-standing conviction as to the relationship be-
tween past and present music, the conviction that it

is impossible for anyone to grasp fully the art of a

bygone period to penetrate beneath the obsolete

;

form and discern the author's meaning in a lan-

guage no longer spoken, unless he has a comprehen-

sive and lively feeling for the present, and unless he

consciously participates in the life around him.

For it is only those who are essentially alive

who can discover the real life of those who are

"dead." That why, even from a pedagogical point

is

of view, I think that it would be wiser to begin the

education of a pupil by first

giving him a knowledge

of what and only then tracing history backward,

is,

step by step, to what has been.

Frankly, I have but little confidence in those
who pose as refined connoisseurs and passionate ad-
mirers of the great pontiffs of art honored by sev-
eral stars in the guidebooks or by a portrait, usually

quite unrecognizable, in illustrated encyclopedias

but who know nothing of the art of their own times.

[ 119 ]
 STRAVINSKY
Should any consideration at all be given to those

who go into raptures over great names but whose

attitude, when confronted with contemporary works,

is one of bored indifference, or the display of a
marked preference for the mediocre and the com-
monplace?
Ansermet's merit lies precisely in his ability to
reveal the relationship between the music of today

and that of the past by purely musical methods.

Knowing, as he does to perfection, the musical lan-

guage of our own times, and, on the other hand,
playing a large number of old, classical scores, he
soon perceived that the authors of all periods were
confronted by the solution of problems which were,
above all, specifically musical. That is his rare merit,

and that explains his vital contact with the musical

literature of the most diverse periods.

With regard to technique in the true sense of

the word, to give a rendering of the Soldat was a

brilliant opportunity for Ansermet to display his

mastery. For with an orchestra of only seven musi-

cians, all playing as soloists, there could be no ques-

tion of fooling the public by the dynamic effects

with which we are all familiar and which are all too

[ 120 ]
 STRAVINSKY
easy j was necessary not only to reach, a meticulous
it

perfection and precision of execution., but to sustain

it without ever faltering for a moment, because,
with so small a number of instruments, it would
have been impossible to conceal what an adroit con-
ductor could have made to pass unnoticed in a large

orchestra.

Taking all these things into consideration, the

first performance of the Soldat completely satisfied

me. Nor was this so from the point of view of music

only. It was a great success as a whole, thanks to

careful execution, setting, and perfect interpreta-

tion. The true note was struck then, but unfortu-

nately I have never since seen a performance of the

Soldat that has satisfied me to the same degree. I

have kept a my memory for that per-

special place in

formance, and I am grateful to my friends and col-

laborators, as well as to Werner Reinhart, who, hav-

ing been unable to find any other backers, generously
financed the whole enterprise himself. As a token of

my gratitude and friendship, I wrote for, and dedi-

cated to, him three pieces for clarinet solo, he being

familiar with that instrument and liking to play it

among his intimates.

 STRAVINSKY
As I have already indicated; we had no inten-

tion of restricting the Soldat to one performance.

We had much more extensive plans, and meant to

go further afield in Switzerland with our traveling

theatre. But, alas! we had reckoned without the

Spanish influenza which was raging

all over Europe

at that time and did not spare us. One after another

we all fell victims to it; we our

; families, and even
the agents who were to have taken charge of our
tour. All our beautiful dreams faded away.
Before talking of my return to life after this

long and depressing illness, I must go back a little to

mention a work which I composed directly after fin-

ishing the score of the Soldat. Its

dimensions are

modest, but it is indicative of the passion I felt at

that time for jazz, which burst into life so suddenly

when the war ended. At my request, a whole pile of

this music was sent to me, enchanting me by its

truly popular appeal, its freshness, and the novel

rhythm, which so distinctly revealed its

negro origin.
These impressions suggested the idea of creating a

composite portrait of this new dance music, giving

the creation the importance of a concert piece, as, in

the past, the composers of their periods had done for

[ 122 ]
 STRAVINSKY
the minuet, the waltz, the mazurka, etc. So I com-

posed my Ragtime for eleven instruments, wind,

string, percussion, and a Hungarian cymbalon.
Some years later, I conducted it myself at its first

audition at one of Koussevitzky's concerts at the

Paris Opera House.

I felt so weak after my long bout with influ-

enza that I found it impossible at the moment to

undertake anything at all

fatiguing, and I therefore
occupied myself with work that I imagined would
not overtax my strength. I had long toyed with the
idea of arranging certain fragments of L'Oiseau de

Feu in the form of a suite, but for a much smaller

orchestra, in order to facilitate its production by the

many orchestral societies which,
though wishing to
include that work in their programs, were frequently

deterred by difficulties of a purely material nature.

In the earlier suite, which
had arranged shortly
I

after the composition of the ballet, I had retained an

orchestra of the same size as the original, and the

various societies which organized concerts rarely had

such large ensembles at their disposal. In this second
version I added certain portions and cut out others

which had been in the first, and I considerably de-

[ 123 ]
 STRA FINSKT
creased the orchestra without upsetting the equilib-

rium of the instrumental groups, so as to reduce

the number needed for its performance to about

sixty musicians.
As the work progressed, I saw that my task was

by no means so simple as I had imagined, and it took

six months to complete it.

During the winter I made the acquaintance of

a Croat singer, Mme Maja de Strozzi-Pecic, who

had a beautiful soprano voice. She asked me to write

something for her, and I composed Four Russian

Songs on folk poems that Ramuz translated for me.
I went to Paris in the early spring on a short

visit, and there I met Diaghileff, whom I had not

seen for more than a year.

The Peace of Brest-Litovsk had placed him, as

it did so many of his compatriots, in a very awk-
ward position. It had found him and his company in
Spain, and there they were, so to speak, shut up, be-
cause everywhere Russians were, one and all, re-

garded as undesirable, and innumerable difficulties

were made whenever they wished to travel from one

country to another.

Having made an engagement with the London

[ 124 ]
 STRA VINSKY
Coliseum., Diaghileff ; after a great deal of trouble,
did finally manage to get permission for himself and
the whole company to go to London via France.
When I saw him in Paris, I naturally told him
about the Soldat, and the pleasure that its success
had given me, but he did not evince the least inter-

est. I knew him too well to be surprised : he was in-

credibly jealous about his friends and collaborators,

especially those he most esteemed. He simply would

not recognize their right to work apart from him
and his undertakings. He could not help it 5 he re-

garded their action as a breach of faith. He even

found it difficult to tolerate my appearance at con-
certs, whether as conductor or pianist, though that

obviously had nothing whatever to do with the thea-

tre. Now that he is dead, it all seems rather touch-

ing, and it has left no trace of bitterness ; but when

I tried during his lifetime to get him to share in my
enjoyment of successes which I had made without
his participation, and encountered only his obvious

indifference, or even hostility, it hurt me; I was re-

pelled, and I suffered acutely. It

though a was as

friend's door had remained tightly shut after I had

knocked at it. All this happened when the question

[ 125 ]
 STRAVINSKY
of the Soldat arose ; and a certain coolness between

us ensued., but it did not last long.

While I was in Paris, Diaghileff used all his

diplomatic talents to entice me the lost sheep, so

to speak back into the fold of the Russian Ballet.

In order to distract me from the unfortunate Soldat,
he talked with exaggerated enthusiasm about his

plan to put on Le Chant du Rossignol, with scenery

and costumes by Henri Matisse and choreography

by Massine. But I was not taken with the idea, be-

cause,, despite the fact that the thought of collaborat-

ing with a great artist like Matisse and such a chore-

ographer Massine was very alluring, I had

as

destined Le Chant du Rossignol for the concert plat-

form,, and a choreographic rendering seemed to me

to be quite unnecessary. Its subtle and meticulous

writing and its somewhat static character would not

have lent themselves to stage action and the move-
ments of dancing. But another proposal by Diaghi-
leff did very greatly tempt me.

The success of The Good-humored Ladies, with

Domenico Scarlatti's music, had suggested the idea
of producing something to the music of another

illustrious Italian, Pergolesi,

whom, as he knew, I

[ 126 ]
 STRA VINSKY
likedand admired immensely. In his visits to Italy,

Diaghileff had gone through a number of this mas-

ter's unfinished manuscripts that he discovered in
various Italian conservatoires, copies of which he

had had made for him. He later completed the col-

lection with what he found in the libraries of Lon-

don. There was a very considerable amount of ma-
terial, which Diaghileff showed to me, urging that
I should seek my inspiration in it and compose the
music for a ballet, the subject of which was to be

taken from a collection containing various versions

of the amorous adventures of Pulcinella.

have always been enchanted by Pergolesi's

I

Neapolitan music, so entirely of the people and yet

so exotic in its Spanish character. The proposal that
I should work with Picasso, who was to do the

scenery and costumes and whose art was particularly

near and dear to me, recollections of our walks to-

gether and the impressions of Naples we had shared,

the great pleasure I had experienced from Massine's

choreography in The Good-humored Ladies all

this combined to overcome my reluctance. For it

was a delicate task to breathe new life into scattered

fragments and to create a whole from the isolated

[ 127 ]
 STRAVINSKY
pages of a musician for whom I felt a special liking

and tenderness.
Before attempting a task so arduous, I had to

find an answer to a question of the greatest impor-

tance by which I found myself faced. Should my line

of action with regard to Pergolesi be dominated by
my love or by my respect for his music? Is it love or

respect that urges us to possess a woman? Is it not

by love alone that we succeed in penetrating to the

very essence of a being? But, then, does love dimin-

ish respect? Respect alone remains barren, and can

never serve as a productive or creative factor. In

order to create there must be a dynamic force, and

what force is more potent than love? To me it seems

that to ask the question is to answer it.

I do not want the reader to think that in writ-

ing this I am trying to exonerate myself from the

absurd accusations of sacrilege leveled against me.
I am only too familiar with the mentality of those
curators and archivists of music who jealously guard
the intangibility of relics at which they never so

much as look, while resenting any attempt on the

part of others to resuscitate these treasures which

they themselves regard as dead and sacrosanct. Not

[ 128 ]
 STRAVINSKY
only is my conscience clear of having committed

sacrilege, but ? so far as I can see, my attitude to-

wards Pergolesi is the only one that can usefully be

taken up with regard to the music of bygone times.
Instead of starting work on the Pulcinella di-

Morges, and finished a piano

rectly, I returned to

piece I had begun some time before with Arthur

Rubinstein and his strong, agile, clever fingers in
mind. I dedicated this Piano Rag Music to him. I
was inspired by the same ideas, and my aim was the
same, as in Ragtime, but in this case I stressed the
percussion possibilities of the piano. What fasci-

nated me most of all in the work was that the different

rhythmic episodes were dictated by the fingers them-

selves. My own fingers seemed to enjoy it so much
that I began to practice the piece, not that I wanted
to play it in public my pianistic repertoire even

today is too limited to fill a recital program but

simply for my personal satisfaction. Fingers are not

to be despised they are great inspirers, and, in con-
:

tactwith a musical instrument, often give birth to

subconscious ideas which might otherwise never

come During the following months I gave

to life.

myself up entirely to Pulcinella, and the work filled

[ 129 ]
 STRAVINSKY
me with joy. The material I had at my disposal

numerous fragments and shreds of compositions

either unfinished or merely outlined, which by good

fortune had eluded filtering academic editors

made me appreciate more and more the true nature
of Pergolesi while discerning ever more clearly the
closeness of my mental and, so to speak, sensory

kinship with him.

Frequent conferences with Diaghileff, Picasso,

and Massine were necessitated by the task before me
which was to write a ballet for a definite scenario,

with scenes differing in character but following each

other in ordered sequence. I therefore had to go to
Paris from time to time in order to settle every de-

tail. Our conferences were very often far from peace-

able j frequent disagreements arose, and our meet-

ings occasionally ended in stormy scenes.

Sometimes the costumes failed to come up to

Diaghileff 's expectations 5 sometimes my orchestra-

tion disappointed him. Massine composed his chore-

ography from a piano arrangement made from the

orchestral score and sent piecemeal to him by me

as I finished each part. As a result of this, it often

happened that when I was shown certain steps and

[ 130 ]
 STRAVINSKY
movements had been decided upon I saw to my
that

horror that in character and importance they in no

wise corresponded to the very modest possibilities of

my small chamber orchestra. They had wanted, and

looked for, something quite different from my score,

something it could not give. The choreography had,

therefore, to be altered and adapted to the volume
of my music, and that caused them no little
annoy-
ance, though they realized that there was no other
solution.

In the autumn, Werner Reinhart was good

enough to organize some concerts in Geneva, Lau-

sanne, and Zurich to let the Swiss public hear some-

thing of my chamber music, such as the suite L'His-

toire d'un Soldat for piano, violin, and clarinet 5 the

three solo pieces for clarinet only; the two small

groups of songs Berceuses du Chat and Pribaoutki;

Ragtime, arranged as a piano solo Piano Rag Music;
:,

and, finally, the eight easy duets for the piano. My

executants were Mile Tatianova, vocalist 5 Jos

Iturbi, pianist 5 Jose Porta, violinist 5 and Edmond

Allegra, clarinet. Iturbi and I played the duets.

I ought to mention here a concert which had a
certain importance for me in view of my new or-

[ 151 ]
 STRAVINSKY
chestral experiments. On December 6 a first per-

formance of Le Chant du Rossignol was given at

Geneva at one of the subscription concerts of the

Orchestre de la Suisse Romande under the direction

of Ernest Ansermet. I say new experiment because,

in this symphonic poem, written for an orchestra of

ordinary size, I treated the latter more as a chamber

orchestra, and laid stress on the concertante side,

not only of the various solo instruments, but also

gave this role towhole groups of instruments. This

orchestral treatment was well adapted to music full

of cadenzas, vocalises, and melismata of all kinds,

and in which tutti were the exception. I enjoyed the
performance greatly, for the rendering was careful
and highly finished. I reached the conclusion very
regretfully, since I was the author of many works
for the theatre that a perfect rendering can only

be achieved in the concert hall, because the stage

presents a combination of several elements upon

which the music has often to depend, so that it can-
not rely upon the exclusive consideration which it

receives at a concert. I was confirmed in this view

when, two months later, under the direction of the
same conductor, Ansermet, Le Chant du Rossignol

[ 132 ]
 STRAVINSKY
was given as a ballet by Diaghileff at the Paris

Op&ra.
All the early part of 1920 was filled with ex-

citement, feverish activity, and continual travel ne-

cessitated by preparations for the performance of

Pulcinella,which was given at the Op6ra on May

15.1 had to go to and fro between Merges and Paris,
where my presence was constantly required either
to hear singers and rehearse them, or to follow

closely the choreographic rehearsals in order to

spare Massine unpleasant misunderstandings of the

sort already described.

Although was very tiring, I enjoyed

all this

taking part in a task which ended in a real success.

Pulcinella is one of those productions and they
are rare where everything harmonizes, where all
the elements subject, music, dancing, and artistic

setting form a coherent and homogeneous whole.

As for the choreography, with the possible excep-

tion of a few episodes that it had not been possible

to change, it is one of Massine's finest creations, so

fully has he assimilated the spirit of the Neapolitan

theatre. In addition, his own performance in the

title role was above all praise. As for Picasso, he

[ 135 ]
 STRAVINSKY
worked miracles, and I find it difficult to decide

what was most enchanting the coloring; the de-

this remark-
sign, or
the amazing inventiveness of
able man.
I had expected a hostile reception from those
who have constituted themselves the custodians of

scholastic tradition, and was not astonished by their

reprobation. I had formed the habit of disregarding

this equivocal musical group
whose authority was
more than doubtful. All the more precious was the
attitude of those who were able to discern in my
score something better than a more or less adroit

eighteenth-century pastiche.

As, with the return of peace, life resumed its

activities in the whole of Europe, particularly in

France, I realized that I could no longer remain in

the involuntary isolation to which the war had con-
fined me. I therefore resolved to take my lares and
penates to France, where, at the
moment, the pulse
of the world was throbbing most strongly. It was

with a full heart that I felt constrained to bid adieu

to the Vaud country, which had endeared itself to

me by the precious friendships found in it, and

[ 154 ] .
 STRAVINSKY
which had helped me bear the severe trials that I
had had to undergo during the war years. I shall
always keep in my heart a feeling of affection for it.
In June I left Morges with my family and

settled in France. We spent the summer in Brittany.

It was an important moment in my lif e, for it closed

one period of it. The ensuing period takes on a

wider aspect, thanks to the fact that, while still con-

tinuing my creative work, I became also the execu-

tant of my own music. I shall have occasion to speak

of this new activity, and the reflections to which it

gives rise, in the second part of my chronique,

where I shall record my life from the time when I

settled in France, which has become my second

motherland.

[ 135 ]
PART TWO
 V\WWWrtAA\VlVVW/V\AWAAM^

WHEN I left Switzerland to settle in France I

brought away some sketches of an idea suggested by

M. Alfred Pochon, leader of the Flonzaley String
Quartet. The Flonzaley, a group of Vaudois musi-

cians, taking their name from that canton, per-

formed in the United States for a considerable time.

M. Pochon wished to introduce a contemporary work

into their almost exclusively classical repertoire,
and asked me to write them an ensemble piece, in
form and length of my own choosing, to appear in
the programs of their numerous tours.

So it was for them that I composed my Con-

certino, a piece in one single movement, treated in
the form of a free sonata allegro with a definitely

concertante part for the first violin, and this, on ac-

count of its limited dimensions, led me to give it the
diminutive title : Concertino (piccolo concerto).

During my stay at Carantec, in Brittany, I

[ 139 ]
 STRAVINSKY
was also engaged on another work, which originated
as follows :

The Revue Musicale proposed to issue a num-

ber devoted to the memory of Debussy, containing

several pages of music, each specially written for

the occasion by one of the great man's surviving ad-

mirers, and I was among those asked to contribute.
The composition of this page, however, made
me feel bound to give rein to the development of a
new phase of musical thought conceived under the
influence of thework itself and the solemnity of the
circumstances that had led to it.

began at the end, and wrote a choral piece

I

which later on became the final section of my Sym-

phonies pour Instruments a Vent, dedicated to the

memory of Claude Achille Debussy. This I gave to

the Revue Musicale in a version arranged for the

pianoforte.
It was while still in Switzerland that I heard of

Debussy's death. When I had last seen him he was

already very weak, and I realized that he must soon
leave us. Subsequently I had received more reassur-
ing accounts of him, so that the news of his death
came upon me rather unexpectedly.

[ 140 ]
 STRAVINSKY
I was sincerely attached to him man, and
as a

I grieved not only at the loss of one whose great

friendship had been marked with unfailing kindness

towards myself and my work, but at the passing of
an artist who, in spite of maturity and health al-

ready hopelessly undermined, had still been able to

retain his creative powers to the full, and whose musi-

cal genius had been in no way impaired throughout

the whole period of his activity.

While composing my Symphonies I naturally

had in mind the man to whom I wished to dedicate

them. I used to wonder what impression my music

would have made on him, and what his reactions
would have been. I had a distinct feeling that he
would have been rather disconcerted by my musi-
cal idiom, as he was, I remember, by my Roi des
j&toiles, also dedicated to him, when we played it to-

gether as a duet for one pianoforte. Moreover, this

piece had been composed at the time of the Sacre,

about seven years before the Symphonies. I had cer-

tainly experienced considerable evolution since then,

and not in the direction pointed to by the tendencies
of the Debussyist period. But this supposition, I will

even say this certainty, that my music would have

[ 141 ]
 STRA FINSKY
remained foreign to him, was far from discouraging
me.
to my idea, the homage that I in-
According
tended to to the memory of the great musician
pay
ought not to be inspired by his musical thought; on
the contrary, I desired rather to express myself in a

language which should be essentially my own.

It is in the nature of things and it is this

which determines the uninterrupted march of evolu-

tion in art quite as much as in other branches of hu-
man activity which immediately pre-
that epochs

cede us are temporarily farther away from us than

others which are more remote in time. That is why

I do not think that at the moment of writing (1955)

I could form a just appreciation of Debussy. It is

clear that his aesthetic, and that of his period, could

not nowadays stimulate my appetite or provide food

for my musical thought, though that in nowise pre-

vents me from recognizing his outstanding person-
ality or from drawing a distinction between him and
his numerous satellites.
I finished these Symphonies at Garches, where
I spent the winter of 1920-1921. At the same time
I wrote a group of little pieces for children which

[ 142 ]
.
 STRAVINSKY
were published under the title Les Cinq Doigts. In
these eight pieces, which are very easy, the five

fingers of the right hand, once on the keys, remain

in the same place sometimes even for the whole

length of the piece, while the left hand, which is

destined to accompany the melody, executes a pat-
tern, either harmonic or contrapuntal, of the utmost

simplicity. I found it rather amusing^ with these

very much restricted means, to try to awaken in the

child a taste for melodic design in its combinations

with a rudimentary accompaniment.

Diaghileff was just then giving a new produc-

tion of Le Sacre du Printemps at the Theatre des

Champs-filys^es.

Nijinsky's absence he had been interned for

some years and the impossibility of remembering
his overburdened, complicated, and confused chore-

ography, gave us the idea of re-creating it in a more

and the work was entrusted to L^onide
living form,
Massine.
The young ballet master accomplished his task
with unquestionable talent.

He certainly put order and understanding into

his dance compositions. There were even moments

[ 145 ]
 STRAVINSKY
of great beauty in the group movements when the
plastic expression was in perfect accord with the

music, and, above all, in the sacrificial dance so bril-

liantly executed by Lydia Sokolova that it still lives

in the memory of everyone who saw it. I must say,

however; that., notwithstanding its

striking qualities
and the fact that the new production flowed out of
the music and was not, as the had been, im-
first

posed on it, Massine's composition had in places

something forced and artificial about it. This defect

frequently arises, as choreographers are fond of cut-

ting up a rhythmic episode of the music into frag-

ments, of working up each fragment separately, and

then sticking the fragments By reason of
together.
this dissection, the
choreographic line, which should
coincide with that of the music, and
rarely does so,
the results are deplorable; the
choreographer can
never by such methods obtain a
plastic rendering of
the musical phrase. In
putting together these small
units
(choreographical bars) he obtains, it is
true,
a total which
agrees with the length of a given
musical fragment, but he achieves
nothing more,
and the music is not adequately represented a
by
mere addition sum, but demands from choreography

[ 144 ]
 STRAVINSKY
an organic equivalent of its own proportions. More-
over., procedure on the part of the choreog-
this

rapher reacts unfavorably on the music itself , pre-

venting the listener from recognizing the musical
fragment choreographed. I speak from experience,
because my music has frequently suffered from this

deplorable method.
As Diaghileff 's affairs were at this time in very
low water financially, the reproduction of the Sacre
had been made possible only by the backing of his
friends. I should like especially to mention Mile
Gabrielle Chanel, who not only generously came to
the assistance of the venture,, but took an active part

in the production by arranging to have the costumes

made in her world-famous dressmaking establish-

ment.
In the course of this Diaghileff season at the
Theatre des Champs-filys^es I at last had an oppor-

tunity of seeing Parade, the work of Cocteau, Satie,

and Picasso, the production of which in 1917 had

been the subject of so much discussion. Although I

had played the music on the piano, seen photographs

of the scenery and costumes, and was intimately ac-

quainted with the scenario, the performance gave

[ 145 ]
 STRAVINSKY
me an impression of freshness and real originality.
Parade confirmed me still further in my conviction

of Satie's merit in the part he had played in French

music by opposing to the vagueness of a decrepit

impressionism a precise and

firm language stripped

of all pictorial embellishments.

In the spring of 1921 a Paris music hall asked

me if I would let them have a few pages of inci-

dental music for a little sketch, within the range of

their audience. It amused me to try my hand at that

sort of thing, and I therefore orchestrated four pieces

taken from my collection of Easy Duets. Although

my orchestra was more than modest, the composi-
tion as I wrote it was given only at the first few per-

formances. When I went to see the sketch again a

month later I found that there was but little left of

what had written. Everything was completely

I

muddled, some instruments were lacking or had

been replaced by others, and the music itself as exe-

cuted by this pitiful band had become unrecogniza-

ble. It was a good lesson. One must never risk en-

trusting honest work to that sort of establishment in

which music is certain to be mutilated to suit the

show and its patrons.

[ 146 ]
 STRA VIN SKY
Diaghileff was engaged for a season at the

Royal Theatre, Madrid, in the spring, and asked me

to go with him to conduct Petroushka, the King's

favorite ballet. Alfonso and the two Queens came to

all the performances., and, as usual, enjoyed them.

They were present also at an informal party that

the management of the Royal Theatre gave in our

honor, and to which some of the artists of our com-

pany were also invited. Diaghileff and I decided to

spend Easter at Seville, with its famous processions

of la Semana Santa. Throughout those seven days
we mingled with the crowds. It is astonishing that
these fetes, half pagan, half Christian, and con-

secrated by time, have lost nothing of their fresh-

ness and vitality notwithstanding the travel agen-
cies and all the guides who are beyond price but
have be paid, and notwithstanding, moreover, the
to

particular kind of publicity which has been

their

fate.

The spring and summer of 1921 were very

much disturbed. First there was Diaghileff 's Paris

season, with the new production of Le Sacre and the

creation of Souffon (Chout), Prokofiev's master-

piece, which unfortunately one never hears now in

[ 147 ]
 STRAVINSKY
its entirety. Then came my prolonged stay in Lon-
don ; where Le Sacre was given first at a concert

conducted by Eugene Goossens and, later, at the

theatre by the Diaghileff company.
Though it was terribly hot in London
that

summer, the town was very full, and I was con-

stantly surrounded by newly made ac-

friends and

quaintances. It was one continuous

round of lunches,

teas, receptions, and

weekends which left me no
time to myself.

I cannot pass over in silence an event in this

London visit which caused me a good deal of dis-

tress. Koussevitzky was giving a concert, and asked

me to entrust him with the first performance of my
Symphonies ^Instruments a Vent a la Memoire de
Debussy. I did not, and indeed I could not, count on

any immediate success for this work. It is devoid of

all the elements which infallibly appeal to the ordi-

nary listener and to which he is accustomed. It

would be futile to look in it for any passionate im-

pulse or dynamic brilliance. It is an austere ritual

which is unfolded in terms of short litanies between

different groups of homogeneous instruments.
I fully anticipated that the cantilene of clari-

[ 148 ]
 STRAVINSKY
nets and flutes ; frequently taking up again their
liturgical dialogue and softly chanting it, did not
offer sufficient attraction to a public which had so

recently shown me their enthusiasm for the "rev-

olutionary" Sacre du Printemps. This music is not

meant "to please" an audience or to rouse its pas-
sions. I had hoped, however, that it would appeal to

those in whom a purely musical receptivity out-

weighed the desire to satisfy emotional cravings.

Alas! the conditions under which the work was

given made that impossible. In the first place, it was

given in an ill-chosen sequence. This music, com-

posed for a score of wind instruments, an ensemble
towhich people were not accustomed at that time
and whose timbre was bound to seem rather disap-

pointing, was placed immediately after the pompous

marches of the Cog d'Or, with their well-known or-
chestral brilliancy. And this is what happened : as

soon as the marches were finished, three-quarters of

the instrumentalists left their seats, and in the vast

arena of Queen's Hall I saw my twenty musicians

still in their places at the back of the platform at an

enormous distance from the conductor. The sight

was peculiar in itself. To see a conductor gesticulat-

[ 149 ]
 STRA VINSKJ
ing in front of an empty space, with all the more
effort because the players were so far away, was
somewhat disturbing. To conduct or control a group

of instruments at such a distance is an exceedingly

arduous task. It was particularly arduous on this

occasion, as the character of my music demanded

the most delicate care to attain the ear of the public

and to tame the audience to it. Both my work and

Koussevitzky himself were thus victimized by unto-
ward circumstances in which no conductor in the
world could have made good.
The success of his season of the Ballet Russe
made Diaghileff eager to realize a long-cherished

project for the revival of the chef d'oeuvre of our

classical ballet Tchaikovsky's Sleeping Beauty.
Knowing my great admiration for the composer,
and that I entirely
approved his idea, Diaghileff
asked me to help him to carry out his
plan. It was
necessary to examine the score of the ballet, which
had been obtained with the utmost
difficulty, as it

was, I believe, the only copy extant in Europe out-

side Russia. It was not even engraved. Certain
parts
which had been cut at its first
production in St.
Petersburg, and which Diaghileff wanted to include,

[ 150 ]
 STRA VINSKY
were not in the orchestral score, but were to be
found only in the pianoforte arrangement. I under-
took to orchestrate them, and, as Diaghileff had
himself reversed the order of various numbers, he
asked me also to arrange the harmonic and orches-
tral connections needed.

During this same London visit Diaghileff and

I conceived another plan that I had very much at

heart. What gave rise to it was our common love

and admiration for our great poet Pushkin, who for

foreigners, alas! is but a name in an encyclopedia,

but whose genius in all its versatility and universal-

ity was not only particularly dear and precious to

us, but represented a whole school of thought. By
his nature, his mentality, and his ideology Pushkin
was the most perfect representative of that wonder-
ful line which began with Peter the Great and

which, by a fortunate alloy, has united the most

characteristically Russian elements with the spiritual

riches of the West.

Diaghileff unquestionably belonged to this line,

and all have only confirmed the au-
his activities

thenticity of that origin. As for myself, I had

al-

ways been aware that I had in me the germs of this

[ 151 ]
 STRA FINSKY
same mentality only needing development, and I

subsequently deliberately cultivated them.

Was not the difference between this mentality
and the mentality of the Five, which had so rapidly
become academic and concentrated in the Belaieff
circle under the domination of Rimsky-Korsakov
and Glazounov, that the former was as it were, cos-
;

mopolitan; whereas the latter was purely national-

ist? The national element occupies a prominent place
with Pushkin as well as with Glinka and Tchaikov-

sky. But with them it flows spontaneously from their

very nature, whereas with the others the nationalis-
tic tendency was a doctrinaire catechism they wished
to impose. This nationalistic, ethnographical aes-
thetic which they persisted in cultivating was not in

reality far removed from the spirit which inspired

those films one sees of the old Russia of the tsars

and boyars. What is so obvious in them, as indeed

in the modern Spanish "folklorists," whether paint-
ers or musicians, is that naive but dangerous tend-

ency which prompts them to remake an art that

has already been created
instinctively by the genius
of the people. It is a sterile
tendency, and an evil
from which many talented artists suffer.

[ 152 ]
 STRA FINSKY
It is true that Occidentalism was equally mani-

fest in both the groups in question ; but its

origins
were different.

Tchaikovsky, like Dargomijsky and others

less well known, although using popular airs, did

not hesitate to present them in a Gallicized or Ital-

ianized form in the manner of Glinka. The "nation-

alists" Europeanized their music just as much, but

they were inspired by very different models Wag-
ner, Liszt, Berlioz that is to say, by the spirit of

romanticism and program music.

It is true that a Tchaikovsky could not escape
Germanic influences. But, though he was under the
influence of Schumann, that did not prevent him
from remaining Russian any more than Gounod,
for example, was prevented from remaining French.

Both profited by the purely musical discoveries of

the great German, who was himself so eminently a

musician. They borrowed his phraseology and his

distinctive idioms without adopting his ideology.
The project of which I spoke above resulted in
the composition of my opera,Maura, taken from
Pushkin's rhymed story, The Little House in Ko-
lomna. By this choice, about which Diaghileff and

[ 155 ]
 STRA 7INSKY
I were in complete agreement, I asserted my atti-
tude towards the two trends of Russian thought be-
tween which I have just differentiated. On the musi-
cal plane this poem of Pushkin's led me straight to
Glinka and Tchaikovsky, and I resolutely took up

my position beside them. I thus clearly defined my

tastes and predilections, my opposition to the con-

trary aesthetic, and assumed once more the good

tradition established by these masters. Moreover, I

dedicated my work to the memory of Pushkin,

Glinka, and Tchaikovsky.

At the end of the summer I left London and
went to Anglet, near Biarritz, to rejoin my family.
There I began a task which enthralled me a tran-

scription for the piano which I called Three Move-

ments from Petroushka. I wanted with this to pro-

vide piano virtuosi with a piece

having sufficient
scope to enable them to add to their modern reper-
tory and display their technique. After that I be-

gan the composition of Maura, for which a libretto

in verse after Pushkin was
being written by a young
Russian poet, Boris Kochno. He sent me his text bit

by bit as he wrote it. I liked his verse

very much,
and I appreciated his intelligence and his literary

[ 154 ]
 STRAVINSKY
giftsand greatly enjoyed my work with him. Later
he became one of DiaghilefPs active collaborators.
With the approach of autumn I had temporar-

ily to interrupt the work in order to devote myself

to The Sleeping Beauty, which was to be produced
very soon. When that was finished I went to Lon-
don.

There I saw ;
as presented by Diaghileff, that

chef d'ceuvre of Tchaikovsky and Petipa. Diaghi-

leff had worked at it passionately and lovingly, and
once more displayed his profound knowledge of the
art of the ballet. He put all his soul, all his strength,

into it,
and in the most disinterested way, for there
was here no question of enhancing his reputation as

a pioneer or appealing to the curiosity of the public

by new forms. In presenting something classical and

dignified he demonstrated the greatness

and free-
dom of his mentality together with a capacity to ap-

preciate not only the values of today

and of remote

periods, but also and this is an extremely rare

quality the values of the period immediately pre-

ceding our own.

It was a real joy to me to take part in this crea-

tion, not only for love of Tchaikovsky but also be-

[ 155 ]
 STRAVINSKY
cause of my profound admiration for classical ballet,
by the beauty of its or-
which, in its very essence,,

donnance and the aristocratic austerity of its f orms,

so closely corresponds with my conception of art.

For here, in classical dancing, I see the triumph of
studied conception over vagueness, of the rule over

the arbitrary, of order over the haphazard. I am

thus brought face to face with the eternal conflict in

art between the Apollonian and the Dionysian prin-

ciples. The latter assumes ecstasy to be the final goal

that is to say, the losing of oneself whereas art
demands above all the full consciousness of the art-

ist. There can, therefore, be no doubt as to my choice

between the two. And if I appreciate so highly the
value of classical ballet, it is not simply a matter of
taste on my part, but because I see exactly in it the

perfect expression of the Apollonian principle.

The first performances of The Sleeping Beauty,
the lavish setting of which had been created by
Leon Bakst, had a brilliant success, and the public

thronged to it.
Unfortunately, the enormous sums
invested in the undertaking compelled the theatrical

management to continue its run for months, until

at last there were not enough people left to fill the

[ 156 ]
 STRAVINSKY
theatre, and it became necessary to withdraw it. But
the last night, as I learned later, was a veritable

triumph the audience would not go away, and there

;

was great difficulty in emptying the building.

[ 157 ]
^VVVU-VU/VVVWVVVIVVVV^^

AFTER THE first few performances I returned to

Biarritz, where I settled with my family and where

we stayed for the next three years. There I worked
all the winter at Mavra.

It was at this time that my connection with the

Pleyel Company began. They had suggested that I
should make a transcription of my works for their

Pleyela mechanical piano.

My interest in the work was twofold. In order

to prevent the distortion of my compositions by
future interpreters, I had always been anxious to
find a means of imposing some restriction on the no-

torious liberty, especially widespread today, which

prevents the public from obtaining a correct idea of
the author's intentions. This possibility was now

afforded by the rolls of the mechanical piano, and,

a little later,
by gramophone records.
The means enabled me to determine for the

[ 158 ]
 STRAVINSKY
future the relationships of the movements
(tempi)
and the nuances in accordance with
my
wishes. It is
true that this guaranteed
nothing,, and in the ten
years which have since elapsed I have, alas! had

ample opportunity of seeing how ineffective it has

proved in practice. But these transcriptions never-
theless enabled me to create a lasting document
which should be of service to those executants who
would rather know and follow my intentions than

stray into irresponsible interpretations of my musi-

cal text.

There was a second direction in which this

work gave me satisfaction. This was not simply the

reduction of an orchestral work to the limitations of
a piano of seven octaves. was the process of adap-
It

tation to an instrument which had, on the one hand,

unlimited possibilities of precision, velocity, and

polyphony, but which, on the other hand, constantly

presented serious difficulties in establishing dynamic

relationships. These tasks developed and exercised

my imagination by constantly presenting new prob-

lems of an instrumental nature closely connected
with the questions of acoustics, harmony, and part

writing.

[ 159 ]
 STRAVINSKY
It was a restless winter for me, as I had to

travel a good deal. My work at Pleyel's entailed fre-

quent visits to Paris, and I had to attend the re-

hearsals of Mavra and Renard., which were just go-

ing to be produced by Diaghileff at the Paris Opera

House., thanks to the generous help of Princess Ed-

mond de Polignac.

This necessitated several visits to Monte Carlo,

where the choreography of Renard was being cre-
ated by Bronislava Nijinska, sister of the famous

dancer and herself an excellent dancer endowed with

a profoundly artistic nature, and, in contrast to her

brother, gifted with a real talent for choreographic

creation.

Diaghileff and I also confided to her the direc-

tion of the artists acting in Mavra as regards plastic
and movement. She had marvelous ideas, which
were unfortunately balked by the inability of the

singers to subject themselves to a technique and dis-

cipline in the practice of which they were unversed.

It was quite different with Renard. I still deeply
regret that the production, which gave me the great-
est satisfaction both musically (the music was under

the direction of Ansermet) and scenically (the seen-

[ 160 ]
 STRAVINSKY
ery and costumes were by Larionov and were one
of his greatest successes) ?
has never been revived in

that form. Nijinska had admirably seized the spirit

of mountebank buffoonery. She displayed such a

its

wealth of ingenuity, so many fine points, and so

much satirical verve that the effect was irresistible.

She herself, playing the part of Renard, created an

unforgettable figure.
Mavra had its first concert production at a

soiree given by Diaghileff at the Hotel Continental.

I myself accompanied it at the piano. The first per-

formance of Mavra and Renard at the Paris Op&ra
was on June 5, 1 922.

Alas! I was deeply disappointed by the disas-

trous surroundings in which my poor Mavra and
little Renard found themselves. Being a part of a

Ballet Russe program, my two intimate acts were

dwarfed when sandwiched between spectacular

pieces which formed the repertory of Diaghileff's

season and were the special attraction for the gen-

eral public. This crushing environment, the enor-

mous framework of the opera house, and also the

of the
mentality of the audience, composed mainly
famous abonnes, all combined to make my two little

[ 161 ]
 STRAVINSKY
pieces, especially Mavra, seem out of place. Though
the Polish conduc-
very conscientiously executed by
tor Fitelberg, alternating at that time with Anser-

met in the repertory of the Ballet Russe, Mavra was

of mine, and a
regarded as a disconcerting freak
failure. Such was also the attitude of all
downright
the critics., notably those of the pre-war left. They
condemned the whole thing then and there, attach-
it as un-
ing no importance to it, and regarding
worthy of Only a few musicians
closer examination.

of the younger generation appreciated Mavra, and

realized that it marked a turning point in the evolu-

tion of my musical thought.

For my own part, I was glad to see that I had

completely succeeded in realizing my musical ideas,

and was therefore encouraged to develop them fur-
ther this time in the domain of symphony. I began
to compose my Octuor pour Instruments a Vent.
I began to write this music without knowing
what its sound medium would be that is to say,

what instrumental form it would take. I only de-

cided that point after finishing the first part, when
I saw clearly what ensemble was demanded by the

[ 162 ]
 STRAVINSKY
contrapuntal material, the character, and structure
of what I had composed.

My special interest in wind instruments in

various combinations had been roused when I was

composing Symphonies a la Memoire de Debussy,

and this interest had continued to grow during the
ensuing period. Thus ; after I had, in these Sym-
phonies, used the ordinary wind orchestra (wood and

brass) ,
I added in Mavra double basses and violon-
cellos and,, episodically, a little trio of two violins

and viola.

Having again used a wind ensemble for cham-

ber music in the Octuor, I later undertook the com-

position of my Concerto, which, as regards color, is

yet another combination that of piano with a wind

orchestra reinforced by double basses and timbals.
But in speaking of the Concerto I have deliber-

ately somewhat overstepped the chronological order

of my narrative to let the reader see the line of in-

was pursuing at that period, which,

vestigation that I
seems to have
looking back now after many years,
constituted a marked epoch in my creative activity.

This preoccupation with the subject of tone

[ 165 ]
 STRAVINSKY
material manifested itself also in my instrumenta-

tion of Les Noces, which, after long delays, was at

last to be produced by Diaghileff .

While still at Morges I had tried out various

forms of instrumentation, first of all for a large or-

chestra, which I gave up almost at once in view of

the elaborate apparatus that the complexity of that

form demanded. I next sought for a solution in a

smaller ensemble. I began a score which required

massed polyphonic effects : a mechanical piano and

an electrically driven harmonium, a section of per-

cussion instruments, and two Hungarian cymbalons.
But there I was balked by a fresh obstacle, namely,
the great difficulty for the conductor of synchroniz-

ing the parts executed by instrumentalists and sing-

ers with those rendered by the mechanical
players.
I was thus compelled to abandon this idea also, al-

though I had already orchestrated the first two

scenes in that way, work which had demanded a
great deal of strength and patience, but which was
all pure loss.

I did not touch Les Noces again for nearly four

years, so busy was I with more urgent matters, and

Diaghileff put off its production from year to year.

[ 164 ]
 STRAVINSKY
It was at last decided that it should be staged
at the beginning of June ;
1 925, and Diaghileff asked
me to help Bronislava Nijinska with the rehearsals
of her choreography at Monte Carlo in March and
April. But the essential thing was to find a solution

for the instrumental ensemble, and that I kept put-

ting off in the hope that it would come of itself

when the definite fixing of a date for the first per-

formance should make it imperative. And that, in

fact, is what happened. I saw clearly that the sus-

tained, that is to say souffld* elements in my work

would be best supported by an ensemble consisting

exclusively of percussion instruments. I thus found

my solution in the form of an orchestra comprising

piano, timbals, bells, and xylophones, none of which

instruments gives a precise note.

Such a sound combination in Les Noces was

the necessary outcome of the music itself, and it was
in no wise suggested by a desire to imitate the sounds

of popular fetes of this kind, which I had, indeed,

neither seen nor heard. It was in this spirit, too, that

I had composed my music without borrowing any-

produced by the breath, as the "wind" in an in-

1 The elements

strumental ensemble.

[ 165 ]
 STRAVINSKY
thing, from folk music with the exception of the
theme of a factory song which I used several times

in the last scene, with different words ("I have gold

that hangs down to my waist" "The beautiful well-

5

made bed the beautiful square bed") . All the other

;

themes, airs, and melodies were of my own inven-

tion.

I set myself to work on the instrumentation at

the end of the winter, while still at Biarritz, and I

finished it on April 6 at Monaco. I must say that

the stage production of Les Noces, though obviously
4

one of talent, did not correspond with my original

plan. I had pictured to myself something quite dif-

ferent.

According to my idea, the spectacle should have

been a divertissement, and that is what I wanted
to call it. It was not my intention to reproduce the

ritual of peasant weddings, and I paid little heed to

ethnographical considerations. My idea was to com-

pose a sort of scenic ceremony, using as I liked those
ritualistic elements so abundantly provided by vil-

lage customs which had been established for cen-

turies in the celebration of Russian marriages. I took

my inspirations from those customs, but reserved to

[ 166 ]
 STRAVINSKY
myself the right to use them with absolute freedom.
Inspired by the same reasons as in UHistoire d'un
Soldaty I wanted all my instrumental apparatus to

be visible side by side with the actors or dancers,

making it, so to speak, a participant in the whole

theatrical action. For this reason,, I wished to place

the orchestra on the stage itself, letting the actors

move on the space remaining free. The fact that the

artists in the scene would uniformly wear costumes

of a Russian character while the musicians would

be in evening dress not only did not embarrass me,

but, on the contrary, was perfectly in keeping with

my idea of a divertissement of the masquerade type.

But Diaghileff had no sympathy with my
wishes. And when, to convince him, I pointed out
how successful the plan had been in L'Histoire d'un
Soldat, I only stimulated his furious resistance be-
cause he could not bear UHistoire.

So all my efforts in that direction were vain,

and as I did not feel that I had a right to jeopardize
the performance since, after all, the scenic realiza-

tion did not compromise my work, I very reluctantly

consented to Diaghileff 's staging.
The first performance of Les Noces was given

C 167 ]
 STRAVINSKY
on June 13,1 923 ? at the The&tre de la Gait4 Lyrique
in Paris. was admirably conducted by Ansermet,
It

and became one of the most remarkable triumphs of

his conducting.

The framework of the decor was composed ex-

clusively of backcloths, with just a few details of a

Russian peasant cottage interior, and both coloring

and lighting were very successful. Natalie Gon-
charova was responsible for it and also for the cos-
;

tumes very ingeniously simplified and made uni-

form.
The first
night of Les Noces had been preceded
by a private audition in concert form at the house
of Princess Edmond de Polignac, who never missed
an opportunity of showing me her affection and

sympathy. An excellent musician, of wide culture,

a painter endowed with undeniable talent, she en-

couraged and was the patron of artists and the arts.

I shallalways gratefully remember the evenings at

her house where I played several of my new crea-

tions., such as beside Les Noces UHistoire d'un

Soldat, my Concerto., my piano Sonate (which is

dedicated to her) , CEdipus Rez, and so forth.

In August of that same year I went on a short

[ 168 ]
 STRAVINSKY
visit to Weimar, at the invitation of the
organizers
of a very fine exhibition of modern architecture

(Bauhaus}, in the course of which there was a series

of musical performances; including, other

among
things, the presentation of my Histoire d'un Soldat.
It had already been given in Germany,, two months
earlier, at Frankfort-on-Main, at one of seven con-
certs of modern music (Neue Kammermusik) or-

ganized in that city with the help of Paul Hinde-

mith.

My journey to Weimar was something of an

adventure. In Paris I could not get a through ticket.

All I could obtain was a ticket to the station where

the zone of occupation began, a little way from

Frankfort. It was quite late when I reached the little
station,which was occupied by African soldiers with
fixed bayonets. I was told that at that hour there was

no means of communication with Frankfort, and

that I must wait till
daylight, contenting myself till

then with the bench in the waiting room, which

was, moreover, already crowded to overflowing. I

wanted at first to look for a bed in the village, but
was warned that it would be risky to go out in the
dark because of the vigilance of the sentries, who

[ 169 ]
 STRA FINSKY
might mistake me for a vagrant. It was so dark that
I had to abandon the idea and stay at the station,

counting the hours till dawn. It was not till 7 A.M.

that, guided by a child, and after a tramp of half an

hour along rain-soaked roads, I finally reached the
shelter of the tram which took me to the central sta-

tion of Frankfort, where I found a train to Weimar.

I have retained one memory, which is particu-

me, of my short stay at Weimar, where

larly dear to
the Soldat was very warmly received by the pub-

lic. I made the acquaintance of Ferruccio

Busoni,
whom I had never met before and who had always
been described to me as an irreconcilable
opponent
of my music. I was therefore very much impressed
by the sincere emotion that I saw he was
feeling
while was being played, which was con-
my music
firmed by him that same evening. I was all the more
touched by this appreciation, since it came from a
very great musician, whose work and mentality
were fundamentally opposed to the
spirit of my art.
It was
my first and last sight of him ; he died a year
later.

I must come back now to my Octuor, the com-

position of which had been interrupted while I was

[ 170 ]
 STRAVINSKY
orchestrating Le$ Noces. I finished it in May., 1925,

and conducted it myself on October 18 of that year

in the Paris Opera House at a Koussevitzky concert.

I remember what an effort it cost me to estab-

lishan ensemble of eight wind instruments, for they

could not strike the listener's ear with a great dis-

play of tone. In order that this music should reach

the ear of the public it was necessary to emphasize
the entries of the several instruments, to introduce

breathing spaces between the phrases (rests) ,

to pay
particular care to the intonation, the instrumental

prosody, the accentuation in short, to establish or-

der and discipline in the purely sonorous scheme to

which I always give precedence over elements of an
emotional character. It was all the more difficult be-

cause at that time, when was only just beginning

I

my career as a conductor, I had not yet got the neces-

sary technique, which I acquired later only with

practice.And, for that matter, the instrumentalists

themselves were unaccustomed to this method of

treating the art of playing because, all told, very

few conductors employ it.
In January I went to Antwerp, having been in-
vited by La Societ des Nouveaux Concerts to con-

[ 171 ]
 STRAVINSKY
duct a program of my earlier works. From there I

went to Brussels,, where the Pro Arte Society had or-

of my music. The celebrated
ganized a concert
Quartet known under that name (MM. A. On-
nou, L. Halleux, G. Provost, and
R. Maas) with

its usual masterly seriousness played my Concertino

and my Trois Petites Pieces pour Quatuor a Cordes,

while I myself conducted my Octuor, La Suite de

Pulcinella, and my opera, Maura, the vocal parts of

which had been carefully studied and prepared by
the singers before my arrival with the help of that

enthusiastic Belgian musician, Paul Collaer. I give

all these details because I retain a grateful memory

of the Pro Arte group for this concert, organized in

a highly artistic fashion, which enabled me to pre-

sent my work, especially Maura, under conditions

which I could not have wished better.
In this connection I must mention here the first

concert performance of Maura a year earlier. Jean

Wiener, who had at that time arranged a series of

auditions of contemporary music in Paris, on De-
cember 26, 1922, gave a concert consisting exclu-

sively of my music, including my Symphonies pour

Instruments a Vent and Maura, conducted
by Anser-

[ 172 ]
 STRAVINSKY
met. This time also the conditions provided were
those which are essential if the music is to "be heard
and appreciated by the public.

My Belgium had prevented me from

visit to

going to Monte Carlo, where Diaghileff was then

giving a season of French operas which we had se-

lected together ? and to the production of which he

devoted the utmost care. In the winter of 1922
1 923 I often went to the small Trianon Lyrique, a
modest and charming theatre of long standing.
Louis Masson, its director, was a serious musician

and excellent conductor, with a firm baton and very

He gave unpretentious performances there
fine taste.

which were perfectly executed. He deserves grati-

tude for the courage with which he put on works of

high musical value which the official theatres had,

alas! cast aside as old-fashioned and no longer at-

tractive to the general public. This attitude of the

great theatres is all the more deplorable in that,

while depriving well-informed musicians of infalli-

ble enjoyment, it lets slip an opportunity for educat-

ing the public and directing their taste in a favor-

able direction. For my own part, I took great pleasure
in these performances, especially Cimarosa's Le
 STRAVINSKY
Secret Mariage and Gounod's Philemon et Baucis.

In hearing this latter opera I once again experienced

the charm which emanates from the intimate aroma
of Gounod's music. Diaghileff was as much in love

with it as I was, and this gave us the idea of looking

through his works in the hope of finding forgotten

pieces.
We thus discovered the short "but delicious

comic opera. La Colombe, written for the theatre at

Baden-Baden in the reign of Napoleon III, and we
found also that little masterpiece, Le Medecin Malgre
Lui. Diaghileff also happened to run across L'du-
cation Manquee, a charming piece by Chabrier. His
great importance is still not fully appreciated by his

own compatriots, who persist in treating him with

kindly indulgence, seeing in him nothing more than
an amusing and lively amateur. It is clear that ears

corrupted by emotional and sentimental verbiage,

and inoculated with academic doctrine (which, how-

ever, is less serious) , cannot but remain deaf to the

quality of such a real pearl as Le Medecin Malgr&

Lui, which has against it the misfortune of being

purely music.
As I said before, I had not had a chance of see-

[ 174 ]
 STRAVINSKY
ing the Gounod operas which Diaghileff was pro-
ducing at Monte Carlo. I know only that the public
had proved indifferent to those performances and
had not appreciated my friend's gesture. In their
uncultured snobbishness the greatest fear of these

people was lest they should appear to be behind the

times if they showed enjoyment for music stupidly
condemned by the publicity-mongers of what was
once the advance guard. I was myself a witness of
this foolish attitude of the
public at the first per-
formance of U&ducation Manquee during the
Russian Ballet season at the Champsfilys6es. The
title was ironic, for the audience displayed a com-
plete lack of education. Being accustomed to see

nothing but ballets at Diaghileff's performances,

they considered that they were swindled in having

to see an opera, however short, and indicated their

impatience by interruptions and cries of "Dance,

dance." was nauseating. It is only fair to say that
It

these interruptions came for the most part from out-

siders, who were easily recognized as such by their

foreign accent. And to think that this same audience

listens devoutly and with angelic patience to the edi-

fying harangues of King Mark endlessly reiterated

[ 175 ]
 STRAVINSKY
at official gala performances under the baton of some
star conductor!

Side by side with forgotten works, Diaghileff

had wanted to present in that season the music of

composers belonging to the young French school, by

giving ballets which he had commissioned from
them. These included Georges Auric's Les Fdcheux,
the music of which is full of verve and pungency,
with the -unforgettable scenery and costumes by

Georges Braque; Francis Poulenc's youthful and

tender Biches, in the delicate framework designed

by Marie Laurencin^ and, finally, Le Train Bleu by

Darius Milhaud, with its lively sporting pace. The
admirably successful choreography of these three
ballets came from Bronislava Nijinska's inexhausti-
ble talent. The performance was brilliant, and it

gives me great pleasure to mention here such ad-

mirable executants as Vera
Nemtchinova, Leon
Woizikovsky, and Anton Dolin.

[ 176 ]
^WWWVVVIWA/W/VIAV^^

MY CONCERTS in Belgium, followed in March by

several at Barcelona and Madrid,, mark, so to speak,

the beginning of my career as executant of my own

works. In fact I had that year a whole series of en-

gagements in various towns in Europe and the

United States, and had not only to conduct my own

compositions, but also to play my Concerto for piano

and orchestra, which I had just finished.
While on this subject, I ought to say that the

idea of playing ray Concerto myself was suggested

by Koussevitzky, who happened to be at Biarritz

when I was finishing its composition. I hesitated at
first, fearing that I should not have time to perfect
my technique as a pianist, to practice enough, and
to acquire the endurance necessary to execute a work

demanding sustained effort. But as I am by nature

always tempted by anything needing prolonged

effort, and prone to persist in overcoming difficulties,,

[ 177 ]
 STRAVINSKY
and the prospect of creating my work for
as, also,
the manner in which
myself and thus establishing
,

I wished it to be played, greatly attracted me, these

influences combined to induce me to undertake it.

I began ? therefore, the loosening

of my fingers
playing a lot of Czerny exercises,
which was not
ty
only very useful but gave me keen
musical pleasure.

I have always admired Czerny, not only as a re-

markable teacher but also as a thoroughbred musi-

cian.

While learning by heart the piano part of my

Concerto., I had simultaneously to accustom myself
to keep in mind and hear the various parts of the or-

chestra, so that my attention should not be distracted

was playing. For a novice like myself this
-while I

was hard work, to which I had to devote many hours

<every day.

My first public performance of the Concerto

took place at the Paris Op&ra on May 22 at a Kousse-
vitzky concert, after I had played it a week earlier

to an intimate gathering at the Princess de Poli-

.gnac's, with Jean Wiener playing the accompani-

ment on a piano.

At the beginning of my career as a piano solo-

C 178 ]
 STRAVINSKY
1st I naturally suffered from stage fright, and for a

long time I had a good deal of difficulty in over-

coming it. It was only by habit and sustained effort

that I managed, in time, to master my nerves and

so to withstand one of the most distressing sensa-

tions that I know. In analyzing the cause of this

stage fright, I have come to the conclusion that it is

chiefly due to fear of a lapse of memory or of some

distraction, however trifling, which might have ir-

reparable consequences. For the slightest gap, even

a mere wavering, risks giving rise to a fatal discord-
ance between the piano and the orchestral body,
which obviously cannot, in any circumstances, hold
the movement of its own part in suspense. I remem-
ber at my first debut being seized by just such a

lapse of memory, though it fortunately had no dire

results. Having finished the first part of my Con-

certo, just before beginning the Largo which opens

with a piano solo, I suddenly realized that I had en-

tirely forgotten how it started. I whispered this to

Koussevitzky. He glanced at the score and whispered
the first notes. That was enough to restore my bal-
ance and enable me to attack the Largo.
Incidentally, I must mention a flying visit that
 STRAVINSKY
I paid to Copenhagen, such a cheerful town in sum-

mer, which I went to several times later, and al-

ways with the same pleasure. I played my Concerto

at the Tivoli at one of the summer season symphony

concerts.

When I returned to Biarritz I had to arrange

our removal to Nice, where I had decided to live,

because the Atlantic gales got on my nerves, espe-

cially in winter. The last few months of my stay at

Biarritz were devoted to the composition of my
Sonale pour Piano.
After the Octuor and the Concerto, my inter-

est was completely and continuously absorbed in

thoughts of instrumental music pure and simple,

untrammeled by any scenic consideration. The re-
cent task of writing the piano parts of my Concerto
and Noces had greatly stimulated my keenness for
that instrument. I therefore decided to
compose a
piece for pianoforte solo in several movements. This
was my Sonate. I gave it that name how-
without,
ever, giving it the classical form such as we find it

in dementi, Haydn, Mozart, which, as everyone

knows, is conditioned by the allegro. I used the
term sonata in its
original meaning deriving from

[ 180 ]
 STRAVINSKY
sonare, in contrast to cantare, whence cantata. In

using the term ; therefore, I did not regard myself

as restricted by any predetermined form.
But, though determined to retain full liberty
in composing this work, I had, while engaged on it,

a strong desire to examine more closely the sonatas

of the classical masters in order to trace the direc-

tion and development of their thought in the solu-

tion of the problems presented by that form.

I therefore replayed, among others, a great

many of Beethoven's sonatas. In our early youth we

were surfeited by his works, his famous Weltschmerz

being forced upon us at the same time, together

with his "tragedy" and all the commonplace utter-

more than a century about this

ances voiced for

composer who must be recognized as one of the

world's greatest musical geniuses.

Like many other musicians, I was disgusted by

this intellectual and sentimental attitude, which had
little to do with serious musical appreciation. This

deplorable pedagogy did not fail in its result. It

alienated me from Beethoven for many years.

Cured and matured by age, I could now ap-

proach him objectively so that he wore a different

[ 181 ]
 STRA FINSKY
aspect for me. Above all I recognized in him the in-

monarch of the instrument. It is the in-

disputable
strument that inspires his thought and determines its
substance. The relations of a composer to his sound
medium may be of two kinds. Some, for example,

compose music for the piano others compose piano

$

music. Beethoven is clearly in the second category.

In all his immense pianistic work, it is the "instru-

mental" side which is characteristic of him and

makes him infinitely precious to me. It is the giant

instrumentalist that predominates in him, and it is

thanks to that quality that he cannot fail to reach

any ear that is

open to music.

But is it in truth Beethoven's music which has

inspired the innumerable works devoted to this pro-

digious musician by thinkers, moralists, and even

sociologists who have suddenly become musicogra-
phers? In this connection I should like to quote the

following passage taken from an article in the great

Soviet daily, Izvestia:

"Beethoven is the friend and the contemporary

of the French Revolution, and he remained faithful
to it even at the time when,
during the Jacobin dic-
tatorship, humanitarians with weak nerves of the

[ 182 ]
 STRAVINSKY
Schiller type turned from it, preferring to destroy

tyrants on the theatrical stage with the help of card-

board swords. Beethoven, that plebeian genius, who-

proudly turned his back on emperors, princes, and

magnates that is the Beethoven we love for his -un-

assailable optimism, his virile sadness, for the in-

spired pathos of his struggle, and for his iron will

""
which enabled him to seize destiny by the throat.

This chef d'ceuvre of penetration comes from the

pen of one of the most famous of the musical critics

in the U.S.S.R. I should like to know in what this

mentality differs from the platitudes and common-

place utterances of the publicity-mongers of liberal-
ism in all the bourgeois democracies long before the

social revolution in Russia.

I do not mean to say that everything that has

been written on Beethoven in this sense is of the

same quality. But, in the majority of these works,

do not the panegyrists base their adulation far more

on the sources of his inspiration than on the music

itself? Could they have filled their fat volumes if

they had not been able to embroider to their hearts'

content all the extramusical elements available in

[ 183 ]
 STRAVINSKY
the Beethoven life and legend, drawing their con-

clusions and judgments on the artist from them?

What does it matter whether the Third Sym-
phony was inspired by the figure of Bonaparte the

Republican or Napoleon the Emperor? It is only the

music that matters. But to talk music is risky, and
entails responsibility. Therefore some find it
prefer-
able to seize on side issues. It is easy, and enables

you to pass as a deep thinker.

This reminds me of the account of a conversa-

tion between Mallarm6 and Degas which I had from

Paul Valery. Degas, who, as is well known, liked to

dabble in poetry, one day said to Mallarm6 : "I can-

not manage the end of my sonnet, and it is not that
I am wanting in ideas."
Mallarm6, softly "It is not :

with ideas that one makes sonnets, but with words."

So it is with Beethoven. It is in the quality of
his musical material and not in the nature of his
ideas that his true greatness lies.

It is time that this was recognized, and Bee-

thoven was rescued from the unjustifiable
monopoly
of the "intellectuals" and left to those who seek in
music for nothing but music. It is, also
however,
time and this is perhaps even more to
urgent

[ 184 ]
 STRAVINSKY
protect him from the stupidity and drivel of fools
who think it up to date to
giggle as they amuse
themselves by running him down. Let them beware ;

dates pass quickly.

Just as in his pianistic work Beethoven lives on

the piano, so ; in his symphonies,
overtures, and
chamber music, he draws his sustenance from his
instrumental ensemble. With him the instrumenta-
tion is never apparel, and that is why it never strikes
one. The profound wisdom with which he distrib-

utes parts to separate instruments or to whole

groups, the carefulness of his instrumental writing,

and the precision with which he indicates his wishes

all these testify to the fact that we are above all

in the presence of a tremendous constructive force.

I do not think that I am mistaken in asserting

that it was just his manner of molding his musical
material which logically led to the erection of those

monumental structures which are his supreme glory.

There are those who contend that Beethoven's
instrumentation was bad and his tone color poor.

Others altogether ignore that side of his art, hold-

ing that instrumentation is a secondary matter and

that only "ideas" are worthy of consideration.

[ 185 ]
 STRAVINSKY
The former demonstrate their lack of taste,

their complete incompetence in this respect, and

theirnarrow and mischievous mentality. In contrast
with the florid orchestration of a Wagner, with its
lavish coloring, Beethoven's instrumentation will ap-

pear to lack luster. It might produce a similar im-

pression if compared with the vivacious

radiance of

Mozart. But Beethoven's music is intimately linked

up with his instrumental language, and finds its

most exact and perfect expression in the sobriety of

that language. To regard it as poverty-stricken

would merely show lack of perception. True sobriety

is a great rarity, and most difficult of attainment.

As for those who attach no importance to Bee-

thoven's instrumentation, but ascribe the whole of

his greatness to his "ideas" they obviously regard

all instrumentation as a mere matter of apparel,

coloring, flavoring, and so fall, though following a

different path, into thesame heresy as the others.
Both make the same fundamental error of re-

garding instrumentation as something extrinsic from

the music for which it exists.

This dangerous point of view concerning in-

strumentation, coupled with the unhealthy greed

[ 186 ]
 STRAVINSKY
for orchestral opulence of today, has
corrupted the
judgment of the public, and they, being impressed
by the immediate effect of tone color, can no longer
solve the problem of whether it is intrinsic in the

music or simply "padding." Orchestration has be-

come a source of enjoyment independent of the

music, and the time has surely come to put things in

their proper places. We have had enough of this or-
chestral dappling and these thick sonorities 5 one is

tired of being saturated with timbres, and wants no

more of all this
overfeeding, which deforms the
entity of the instrumental element by swelling it out
of all proportion and giving it an existence of its

own. There is a great deal of reeducation to be ac-

complished in this field.

All these ideas were

germinating in me while
I was composing my sonata and once more renew-
ing my contact with Beethoven. Their development
has continued from that time to this, and my mind
is full of them.

I had hardly settled down in the Riviera when

I had to undertake a concert tour in central Europe.
I went first to Warsaw and Prague then 5
to
Leipzig
and Berlin, where I played my Concerto, accom-

[ 187 ]
 STRAVINSKY
panied by Furtwangler. I also gave a concert at the
Bliithnersaal in Berlin, where, among other things,

I conducted my Octuor. After that I went to Hol-

land. Iwas hospitably welcomed at the Concertge-
bouw of Amsterdam by its eminent conductor, Wil-
lem Mengelberg, and I played my Concerto under
his direction at a concert, repeated two days later at
The Hague, and shared the conductor's baton with

him on another occasion.

Then I went to Geneva and to Lausanne to

conduct my own compositions and to play under the

direction of Ansermet. I finished my circuit with a

concert at Marseilles.

I had to leave Europe soon afterwards for a

comparatively long time, as I had signed a contract
for a concert tour of two months in the United
States. It was my first crossing of the Atlantic.
Without stopping to describe my visual im-

pressions on landing in New York skyscrapers,

traffic, lights, negroes, cinemas, theatres, in fact all
that rouses the curiosity of and very
foreigners,

rightly so I want to begin by bearing witness as a

musician to the fact that in the United States, side

by side with a pronounced weakness for the freakish

[ 188 ]
 STRAVINSKY
and the sensational., I found a real taste for the art

of music, as manifested by the many societies de-

voted to musical culture and by the magnificent or-

chestras munificently endowed by private individ-

uals. In this respect the United States reminded me

of Germany and Russia. I received the warmest and
most hospitable welcome from musical societies,

amateurs, and patrons, notably from Clarence H.

Mackay, at whose invitation I had gone and who
was at that time president of the New York Phil-
harmonic.
The public was already acquainted with my
most frequently performed works, which they had
heard in many concerts, but what was a novelty was
to see me in the roles of pianist and conductor. Judg-
ing by the full houses and the acclamations which I

received, I flattered myself that I had achieved an

undoubted success. But at that time it
might have
been ascribed to the attraction of novelty. It is
only
now, after my recent tour in that country, that I am
convinced of the solid foundation on which the
American public's interest in my music rests.
This time, moreover, I was fully conscious of
the approval of my manner of rendering my works
[ 189 ]
 STRA V IN SKI
even by critics accustomed to new-fangled conduct-
ing. I was glad that my ten years of effort in acquir-

ing the proficiency necessary to present my works in

the way I desired was rewarded by the public un-

derstanding of it. The serious interest of the Ameri-

cans in music is
displayed, among other ways, in the

judicious selection of those to whom they apply for

instruction. A large number of young people have
come to France to complete their musical education

indeed, since the war this has become almost a

tradition and have found invaluable teachers in
Nadia Boulanger and Isidore Philipp. I had the
pleasure of meeting a whole series of their pupils,
some performers and some teachers
themselves, all
musicians of solid knowledge and
unerring taste,
who, on returning to their own country, were en-
gaged in spreading the excellent musical culture
which they had acquired under these eminent mas-
and in successfully
ters, combating pernicious influ-
ences and base amateurishness.

I hope some day to have an opportunity of

say-
ing more about this second visit to the United States,
and to express more fully my sympathy with, and

[ 190 ]
 STRAVINSKY
cordial attachment to, this new, hardy, naive, yet
immense country.

Returning to my first tour in 1925, I will

briefly enumerate the towns I visited. I began my

itinerary with the New York Philharmonic, where
I conducted in several concerts and played my Con-
certo under the direction of Mengelberg, as, later,

I played in Boston under Koussevitzky and, in Chi-

cago, under the veteran Stock. Then followed Phila-

delphia, Cleveland, Detroit, and Cincinnati.

I retain a vivid and grateful memory of Chi-

cago. My friend Carpenter and his now lamented

wife Rue gave me the warmest of welcomes, and ar-

ranged a dinner in my honor, which was followed

by a concert of chamber music at the Arts Club of

which Mrs. Carpenter was president.

As I was "under an engagement to play my
Concerto at the Philadelphia Orchestra, it was

necessary for me to return to that city, and in some-

what unusual circumstances. Having been detained
in the country, I could not reach Philadelphia until

the afternoon of the very day of my concert. More-

over, the guest conductor, Fritz Reiner, of Cincin-

[ 191 ]
 STRA VINSK?
nati,who was to accompany me in place of Leopold
Stokowski, who was away just then, had barely
time to rehearse the program for the evening, as he
himself had arrived only that morning. Most con-

ductors devote several rehearsals to the preparation

of my Concerto, but on this occasion we had barely

half an hour. And there was a miracle. There was
not a single hitch. It was as though Reiner had
played it time and again with that orchestra. Such
an extraordinary phenomenon could never have oc-

curred, notwithstanding the prodigious technique of

the conductor and the
high quality of the orchestra,
ifReiner had not acquired a perfect
knowledge of
my score, which he had procured some time before.
One could aptly apply to him the familiar
saying :

he has the score in his head and not his head in the
score.

I have told this little

story to show that in
America are to be found musicians of the
highest
rank, such as Fritz Reiner, whose value ought to be
far more highly
appreciated than it is. But they are

relegated to the background, overshadowed by the

fame and bulk of celebrated orchestral "stars" for
whom the public evinces herd
enthusiasm, failing

[ 192 ]
 STRA VINSKY
to note that their aim is to outshine one another in
the pursuit of personal triumphs, and generally at
the expense of the music.

As soon as I returned to Europe, I had to go to

Barcelona to conduct a festival of three concerts de-

voted to my music. On my arrival I had an amus-

ing surprise, which I shall never forget. Among

those who came to meet me at the station there was

a very likable little journalist who, in interviewing

me, carried his amiability to the pitch of saying,

"Barcelona awaits you with impatience. Ah, if you

only knew how we love your Scheherazade and your
D arises du Prince Igor!" I had not the heart to un-
deceive him.

Another music was given in

festival of my
April at the Augusteo in Rome, under the direction
of Molinari, at which I played my Concerto, and

where that excellent vocalist, Mme

Vera Janacop-

oulos, sang at a concert of chamber music under my

direction.

When I returned to Paris in May, I conducted

my Ragtime at the Op&ra and replayed my Con-

certo at a Koussevitzky concert of my compositions.
After having seen the performances of the Ballet

[ 193 ]
 STRA FINSKY
Russe, which had put on Pulcinella and the Chant
du Rossignol in a new version by Massine, I re-

turned to Nice for the summer months, to rest after

my many journeys and to devote myself afresh to

composition.
In America I had arranged with a gramophone

firm to make records of some of my music. This

suggested the idea that I should compose something

whose length should be determined by the capac-

ity of the record. I should in that way avoid all the

trouble of cutting and adapting. And that is how
my Serenade en LA pour Piano came to be written.
I had started it as early as April, beginning with the
last portion, and now at Nice resumed its composi-
tion. The four movements constituting the piece are
united under the title Serenade, in imitation of the
Nachtmusik of the eighteenth century, which was

usually commissioned by patron princes for various

festive occasions, and included, as did the suites, an
indeterminate number of pieces.

Whereas these compositions were written for

ensembles of instruments of greater or less impor-
tance, I wanted to condense mine into a small num-
ber of movements for one polyphonic instrument.

[ 194 ]
 STRAVINSKY
In these pieces I represented some of the most typi-
cal moments of this kind of musical fete. I began
with a solemn entry, a sort of hymn 5
this I followed

by a solo of ceremonial homage paid by the artist to

the guests, the third part, rhythmical and sustained,

took the place of the various kinds of dance music

intercalated in accordance with the manner of the

serenades and suites of the period ; and I ended with

a sort of epilogue which was tantamount to an ornate

signature with numerous carefully inscribed flour-

ishes. I had a definite purpose in calling my com-

position Serenade en LA. The title does not refer to

its tonality, but to the fact that I had made all the
music revolve about an axis of sound which hap-

pened to be the LA.

Working at this did not tire me much, and did
not prevent me from enjoying a rest which I felt

that I deserved, and which included various amuse-

ments, mainly that of motoring about the Riviera.
As soon as my Serenade was finished I felt the
necessity for undertaking something big. I had in
mind an opera or an oratorio on some universally
familiar subject. My idea was that in that way I
could concentrate the whole attention of the audi-

[ 195 ]
 STRAVINSKY
by the story, on the music itself ,
ence, undistracted
which would thus become both word and action.
With my thoughts full of this project, I started

for Venice, where I had been invited to play my

Sonate at the festival of the Societ6 Internationale

pour la Musique Contemporaine. I took advantage

of this opportunity to make a little tour of Italy be-

fore returning to Nice. My last stopping-place was

Genoa, and there I happened to find in a bookseller's

a volume by Joergensen on St. Francis of Assisi of

which I had already heard. In reading it I was struck

by a passage which confirmed one of my most deep-

rooted convictions. It is common knowledge that the

familiar speech of the saint was Provengal, but that

on solemn occasions, such as prayer, he used French.
I have always considered that a special language,
and not that of current converse, was required for

subjects touching on the sublime. That is

why I was
trying to discover what language would be most ap-
propriate for my projected work, and why I finally

selected Latin. The choice had the great advantage

of giving me a medium not dead, but turned to stone
and so monumentalized as to have become immune
from all risk of vulgarization.

[ 196 ]
 STRAVINSKY
On my return my mind continued to dwell on
my new work, and I decided to take my subject from
the familiar myths of ancient Greece. I thought that

I could not do better for my libretto than to appeal

to my old friend, Jean Cocteau, of whom I saw a

good deal, as he was then living not far from Nice.

I had been frequently attracted by the idea of col-

laborating with him. I recall that at one time and

another we had sketched out various plans but some-

thing had always arisen to prevent their material-

ization. I had just seen his Antigone, and had been
much by the manner in which he had handled
struck

the ancient myth and presented it in modern guise.

Cocteau's stagecraft is excellent. He has a sense of

values and an eye and feeling for detail which al-

ways become of primary importance with him. This

applies alike to the movements of the actors, the set-

ting, the costumes, and, indeed, all the accessories.

In the preceding year, too, I had again had an op-

portunity of appreciating these qualities of Cocteau

in La Machine Infernale, in which his efforts were
so ably seconded by the fine talent of Christian B&r-

ard, who was responsible for the scenery.

For two months I was in constant touch with

[ 197 ]
 STRAVINSKY
Cocteau. He was delighted with my idea ?
and set to

work at once. We
were in complete agreement in

choosing (Edipus Rex as the subject.

We kept our
a surprise
plans secret, wishing to give Diaghileff
for the twentieth anniversary of his theatrical ac-

tivities, which was to be celebrated in the spring of

1927.

Leaving Cocteau to his task, I undertook another

concert tour at the beginning of November. I went

first to Zurich to play my Concerto under the direc-

tion of Dr. Volkmar Andreae. At Basle I played it

under that of the late Hermann Suter. From there

I made a lightning visit to Winterthur, at the invi-

tation of my friend Werner Reinhart, at whose

house I played, among other things, my first suite

for violin and piano from Pulcinella with that ex-

cellent young violinist, Alma Moodie.
I then went to Wiesbaden to take part as solo-

ist in my Concerto at a symphony concert conducted

by Klemperer. It was there that I got into touch for
the first time with this eminent conductor, with
whom later I so frequently had the opportunity and
pleasure of working. I shall always retain a grateful
and affectionate memory of our relations, for I

[ 198 ]
 STRAVINSKY
found in Klemperer not only a devoted
propagandist
of my work, but a forceful
conductor, with a gen-
erous nature and intelligence
enough to realize that
in closely following the author's directions there is

no danger of prejudicing one's own

individuality.
After a concert of chamber music in Berlin I

went to Frankf ort-on-Main to take part in a festival

of two concerts devoted to my music.

My last stage was at Copenhagen, where I was
to conduct a concert at the invitation of the
great
daily,Dagens Nyheder. As the Royal Opera in
Copenhagen had just staged Petroushka, with the
choreography reconstructed by Michel Fokine him-
the theatrical management,
self, availing them-
selves of my presence, asked me to conduct one of
the performances. I did so with great pleasure, leav-

ing next day for Paris.

A few days after my arrival I was grieved to
learn of the loss of a friend to whom I was sincerely

attached. This was Ernest Oeberg, director of Les

Editions Russes, founded by M. and Mme Kousse-

vitzky, which had published most of my works. I

deeply deplored the loss of this generous man, who

had always had at heart
anything touching my in-
[ 199 ]
 STRAVINSKY
terests. Fortunately for me ?
he was succeeded by his

collaborator, Gabriel Paitchadz6, who still carries on

the work and in whom I have found a devoted
friend.

Under the influence of all these unexpected

events, I returned to Nice to spend Christmas.

[ 200 ]
^A/WVVVVVU/VVWVVVWVVVVUWVVV^

AT THE opening of the New Year I received from

Cocteau the first part of his final version of (Edipus
in the Latin translation of Jean Danielou. I had
been impatiently awaiting it for months, as I was
eager to start work. All my expectations from Coc-
teau were fully justified. I could not have wished

for a more perfect text, or one that better suited my

requirements.
The knowledge of Latin, which I had acquired
at school, but neglected, alas ! for many years, began
to revive as I plunged into the libretto, and, with
the help of the French version, I rapidly familiarized

myself with it. As I had fully anticipated, the events

and characters of the great tragedy came to life

wonderfully in this language, and, thanks to it, as-

sumed a statuesque plasticity and a stately bearing

entirely in keeping with the majesty of the ancient

legend.

[ 201 ]
 STRAVINSKY
What a joy it is to compose music to a lan-

guage of convention, almost of ritual, the very na-

ture of which imposes a lofty dignity! One no longer

feelsdominated by the phrase, the literal meaning

of the words. Cast in an immutable mold which
do not require
adequately expresses their value, they
any further commentary. The text thus becomes

purely phonetic material for the composer. He can

dissect it at will and concentrate all his attention on

its primary constituent element that is to say, on

the syllable. Was not this method of treating the
text that of the old masters of austere style? This,

too, has for centuries been the Church's attitude to-

wards music, and has prevented it from falling into

sentimentalism, and consequently into individual-

ism.

To my great regret, I soon had to interrupt my

work in order to make another concert tour. I went
to Amsterdam, where, for the first time, I tackled
the Sacre du Printemps^ thence to Rotterdam and

Haarlem, and a little later to Budapest, Vienna, and

Zagreb. On my way back to Nice I stopped at Milan
to see Toscanini, who was to conduct Le Rossignol
and Petroushka, which the Scala had decided to pro-

[ 202 ]
 STRAVINSKY
duce that spring. While in Vienna, I had read in the

newspapers that the score of Le Rossignol had mys-

teriously disappeared from Toscanini's rehearsal
room. It appears that during a short absence of Tos-
canini it had been taken from his music stand where,
a few minutes he had been studying it.
earlier,

Search was immediately made, and it was at last

found in the shop of an antique dealer, who had just

purchased it from some person unknown. This in-

cident had caused great excitement at the Scala, but
it had already subsided by the time I reached Milan.
Toscanini received me in the most charming

fashion. He called the choruses and asked me to ac-

company them on the piano in order to give them

such instructions as I might think necessary. I was
struck by the deep knowledge he had of the score in

its and by his meticulous study of

smallest details,

every work which he undertook to conduct. This

quality of his is universally recognized, but this was
the first time that I had a chance of seeing it applied
to one of my own compositions.
Everyone knows that Toscanini always con-
ducts from memory. This is attributed to his short-

sightedness. But in our days, when the number of

[ 203 ]
 STRAVINSKY
showy conductors has so greatly increased;
though
in inverse ratio to their technical merits and their

general culture., conducting an orchestra without

the score has become the fashion, and is often a mat-

ter of mere display. There however, nothing

is,

marvelous about this apparent tour de force (unless

the work is complicated by changes of tempo or
rhythm, and in such cases it is not done, and for

very good reasons) $

one risks little and with a modi-
cum of assurance and coolness a conductor can easily

get away with it. It does not really prove that he

knows the orchestration of the score. But there can

be no doubt on that point in the case of Toscanini.
His memory is proverbial; there is not a detail that

escapes him, as attendance at one of his rehearsals

is
enough to demonstrate.

I have never encountered in a conductor of

such world repute such a degree of self-eff acement,

conscientiousness,, and artistic honesty. What a pity

it is that his inexhaustible and his marvelous
energy
talents should almost
always be wasted on such eter-
nally repeated works that no general idea can be
discerned in the composition of his
programs, and
that he should be so in the selection of
unexacting

[ 204 ]
 STRAVINSKY
his modern repertory! I do not, however, wish to be
misunderstood. I am far from reproaching Tos-
canini for introducing, let us say, the works of Verdi

into his concerts. On the contrary, I wish that he did

so oftener, since he conducts them in so pure a tradi-
tion. By so doing he might freshen all those
sym-
phonic programs which are built on one pattern and
are becoming unbearably moldy. If I am told
all

that I have chosen my example badly, because Verdi

is the author of purely vocal music, I reply that the

Wagnerian fragments which have been specially

adapted for the concert platform and are forever

being repeated are also taken from so-called vocal

works, and are equally devoid of symphonic form in

the proper sense of the term.

Rejoicing in the knowledge that my work was

in the hands of so eminent a maestro, I returned to

Nice, but only a month later I got a telegram from

the Scala saying that Toscanini had fallen ill and

asking me to conduct the performances myself. I

consented, and went to Milan at the beginning of

May and conducted a series of performances which
included my Le Rossignol, with the incom-
opera,

parable Laura Pasini, and Petroushka, staged in the

[ 205 ]
 STRAVINSKY
best tradition by the ballet master, Romanov. I was
astounded by the high standard and rigorous dis-
with which a month
cipline of the Scala orchestra,
later I enjoyed making fresh contact when, at the

invitation of Count G. Cicogna, president of the

Societk de' Ente Concert! Orchestrali, I returned to

Milan again to play my Concerto.

During the rest of the summer and the follow-

stirred from home,
ing autumn and winter, I hardly
being entirely absorbed by my work
on GLdipus.
The more deeply I went into the matter the more I

was confronted by the problem of style (tenue) in

all its seriousness. I am not here using the word

style in its narrow sense, but am giving it a larger

significance, a much greater range. Just as Latin, no

longer being a language in everyday use, imposed a

certain style on me, so the language of the music
itself imposed a certain convention which would be
able to keep it within strict bounds and prevent it

from overstepping them and wandering into by-

ways, in accordance with those whims of the author

which are often so perilous. I had subjected myself
to this restraint when I selected a form of language

bearing the tradition of ages, a language which may

[ 206 ]
 STRAVINSKY
be called homologous. The need for restriction, for

deliberately submitting to a style, has its source in

the very depths of our nature, and is found not only

in matters of art, but in every conscious manifesta-

tion of human activity. It is the need for order with-

out which nothing can be achieved, and upon the

disappearance of which everything disintegrates.

Now all order demands restraint. But one would be

wrong to regard that as any impediment to liberty.

On the contrary, the style, the restraint, contribute

to its development, and only prevent liberty from

degenerating into license. At the same time, in bor-

rowing a form already established and consecrated,

the creative artist is not in the least restricting the
manifestation of his personality. On the contrary,

it is more detached, and stands out better when it

moves within the definite limits of a convention.

This it was that induced me

anodyne and
to use the

impersonal formulas of a remote period and to ap-

ply them largely in my opera-oratorio, (Edipus, to
the austere and solemn character to which they spe-

cially lent themselves.

I finished the score on March 14, 1927. As I

have already said, we had decided with Cocteau that

[ 207 ]
 STRAVINSKY
it should be heard in Paris for the first time, among
Diaghileff 's
productions on the occasion of the twen-
tieth anniversary of his theatrical activity,, which
occurred that spring. We, his friends ? wished to
commemorate the rare event in the annals of the
theatre of an undertaking of a purely artistic na-

ture., without the least hope of material gain, which

had been able to continue for so many years and to
survive so many trials, including the World War,
and had, moreover, continued solely owing to the

indomitable energy, the persistent tenacity, of one

man passionately devoted to his work. We wanted
to give him a surprise, and were able to keep our
secret to the last moment, which would have been
impossible in the case of a ballet, for which Diaghi-

leff's participationwould have been necessary from

the first. As we were too short both of time and
funds to present CEdipus Rex in a stage setting, it

was decided to give it in concert form. And even

that entailed so large an outlay for
soloists, choruses,
and orchestra that we could never have met it if

Princess Edmond de Polignac had not once more

come to our assistance.

The first audition of CEdipus took place at the

[ 208 ]
 STRAVINSKY
Th.6a.tre Sarah Bernhardt on May 30, and was fol-
lowed by two more under Once again
my direction.
I had to suffer from the conditions under which my
work was presented an oratorio sandwiched between
:

two ballets! An audience which had come to applaud

was naturally disconcerted by such a contrast,
ballet

and was unable to concentrate on something purely

auditive. That is why the later performances of

CEdipus as an opera under Klemperer in Berlin, and

then as a concert under my direction in Dresden
and London and in the Salle Pleyel, Paris, gave me
far greater satisfaction.

In June I spent a fortnight in London, where,

besides conducting (Edipus for the British Broad-

casting Corporation, I conducted a gala performance

of my ballets given by Diaghileff in my honor, and
which ex-King Alfonso, always faithful to the Rus-
sian Ballet, honored by his presence.
While in London I had an opportunity of hear-

ing a very beautiful concert of the works of Manuel

de Falla. With a decision and crispness meriting

high praise, he conducted his remarkable El Retablo

de Maese Pedro, in which he had the valuable as-
sistance of Mme Vera Janacopoulos. I also greatly

[ 209 ]
 STRAVINSKY
enjoyed hearing his concerto for harpsichord or
which he himself played on the latter instru-
piano,,

ment. In my opinion these two works give proof of

incontestable progress in the development of his

great talent. He has, in them, deliberately eman-

cipated himself from the folklorist influence under
which he was in danger of stultifying himself.
About this time I was asked by the Congres-
sional Library at Washington to compose a ballet
for a festival of contemporary music which was to
include the production of several works
specially
written for the occasion. The American
generous
patron, Mrs. Elizabeth Sprague Coolidge, had un-
dertaken to defray the expense of these artistic
pro-
ductions. I had a free hand as to subject and was
limited only as to length, which was not to exceed
half an hour by reason of the number of musicians
to be heard in the available time. This
proposal
suited me admirably, for, as I was more or less free
just then, it enabled me to carry out an idea, which
had long tempted me, to compose a ballet founded
on moments or episodes in Greek
mythology plas-
tically interpreted by dancing of the so-called classi-
cal school.

[ 210 ]
 STRA VINSKY
I chose as theme Apollo Musagetes that is,

Apollo as the master of the Muses inspiring each of

;

them with her own art. I reduced their number to

three., selecting from among them Calliope, Poly-

hymnia, and Terpsichore as being the most charac-

teristic representatives of choreographic art. Cal-

liope, receiving the stylus and tablets from Apollo,

personifies poetry and itsrhythm Polyhymnia, fin-

$

ger on lips, represents mime. As Cassiodorus tells

us : "Those speaking fingers, that eloquent silence,
those narratives in gesture, are said to have been in-

vented by the Muse Polyhymnia, wishing to prove

that man could express his will without recourse to

words." Finally, Terpsichore, combining in herself

both the rhythm of poetry and the eloquence of ges-

ture, reveals dancing to the world, and thus among

the Muses takes the place of honor beside the Musa-
getes.
After a series of allegorical dances, which were
to be treated in the traditional classical style of bal-

let (Pas d'action, Pas de deux, Variations, Coda),

Apollo, in an apotheosis, leads the Muses, with

Terpsichore at their head, to Parnassus, where they

are to live ever afterwards. I prefaced this allegory

[ 211 ]
 STRA VINSKY
with a prologue representing the birth of Apollo.

According to the legend, "Leto was with child,, and,

feeling the moment of birth at hand, threw her
arms about a palm tree and knelt on the tender

green turf, and the earth smiled beneath her, and

the child sprang forth to the light. . . . Goddesses
washed him with limpid water, gave him for swad-

dling clothes a white veil of fine tissue, and bound

it with a golden girdle."

When, in my admiration for the beauty of line

in classical
dancing, I dreamed of a ballet of this
kind, I had specially in my thoughts what is known
as the "white
ballet," in which to my mind the very
essence of this art reveals itself in all its
purity. I
found that the absence of many-colored effects and
of all superfluities
produced a wonderful freshness.
This inspired me to write music of an analogous
character. It seemed to me that diatonic composition
was the most appropriate for this purpose, and the
austerity of its
style determined what my instru-
mental ensemble must be. I at once set aside the

ordinary orchestra because of its

heterogeneity, with
its
groups of string, wood, brass, and percussion in-
struments. I also discarded ensembles of wood and

[ 212 ]
 STRAVINSKY
brass, the effects of which have really been too much
exploited of late, and I chose strings.

The orchestral use of strings has for some time

suffered a sad falling off. Sometimes they are des-

tined to support dynamic effects, sometimes reduced

to the role of simple "colorists." I plead guilty my-
self in this respect. The original purpose of strings
was determined in the country of their origin

Italy and was first and foremost the cultivation of

canto, of melody; but this, forgood reasons, has

been abandoned. There was a marked and warrant-
able reaction in the second half of the nineteenth

century against a decay of melodic art which was

congealing the language of music into hackneyed
formulas while simultaneously neglecting many of

the other elements of music. But, as so of ten happens,

the swing of the pendulum was too violent. The

taste for melody per se having been lost, it was no

longer cultivated for its own sake, and there was

therefore no criterion by which its value could be

assessed. It seemed to me that it was not only timely

but urgent to turn once more to the cultivation of
this element from a purely musical point of view.
That is why I was so much attracted by the idea of

[ 215 ]
 STRAVINSKY
should revolve
writing music in which everything
about the melodic principle. And then the pleasure
of immersing oneself again in the multisonorous

euphony of strings and making it penetrate even the

furthest fibers of the polyphonic web! And how
could the unadorned design of the classical dance be

better expressed than by the flow of melody as it ex-

pands in the sustained psalmody of strings?

began the composition of Apollo in July. I
I

was completely absorbed by the work, and, not wish-

to be distracted, postponed till later all considera-
ing
tion of plans for the concerts which were to be given
in the autumn. I did, however, accept the invitation

of my friends the Lyons father and sons direc-

tors of the Pleyel concern, to take part with Ravel

in the opening of their large new concert hall in

Paris. At this ceremony, attended by the highest

Government officials of Paris, I conducted my Suite
de VOiseau de Feu, and Ravel conducted his False.
It was about this time that the Pleyel firm left the
Rue Rochechouart, where it had been domiciled for
nearly a century, and moved into new premises in
the Faubourg St. Honor6, in which they gave me a
studio. Meanwhile, all the rolls of my works made

[ 214 ]
 STRAVINSKY
for their mechanical piano by Pleyel had been sold

to the Duo Art (/Eolian) Company, which signed a

new contract with me which necessitated frequent

journeys to London.
At the beginning of 1 928 I finished composing
the music of Apollo. All that now remained was the

final orchestration of the score,, and, as this did not

occupy my whole time ;

I was able to give some of it

to my tours and concerts. From among these I select

for mention two at the Salle Pleyel, Le Sacre du
Printemps being included in both programs. These
concerts were important for me because it was the

first time that Paris heard the Sacre under my di-

rection. It is not for me to appraise my own per-

formance, but I may say that, thanks to the experi-

ence I had gained with all kinds of orchestras on my
numerous concert had reached a point at
tours, I
which I could obtain exactly what I wanted as I

wanted it.

With regard to the Sacre, whichwas tackling I

for the first time, I was particularly anxious in some

of the parts (Glorification of the Elect, Evocation

of Ancestors, Dance of Consecration) to give the

bars their true metric value, and to have them played

[ 215 ]
 STRAVINSKY
exactly as they were written. I lay stress on this

point, which may seem to the reader to be a purely

professional detail. But with a few exceptions, such

as Monteux and Ansermet, for example, most con-

ductors are inclined to cope with the metric diffi-

culties of these passages in such cavalier fashion as

to distort alike my music and my intentions. This is

what happens fearing

: to make a mistake in a se-

quence of bars of varying values, some conductors

do not hesitate to ease their task by them as
treating
of equal length. By such methods the strong and
weak tempi are obviously displaced, and it is left to

the musicians to perform the onerous task of re-

adjusting the accents in the new bars as improvised

by the conductors, a task so difficult that even if

there no catastrophe the listener
is
expects one at
any moment, and is immersed in an atmosphere of
intolerable strain.

There are other conductors who do not even

try to solve the problem confronting them, and sim-

ply transcribe such music into undecipherable non-

sense, which they try to conceal under violent ges-

ticulations.

In listening to all these "artistic

interpreta-

[ 216 ]
 STRAVINSKY
tions," one begins to feel profound respect for the
honest skill of the artisan, and it is not without bit-
terness that I am compelled to say how seldom one
finds artists who have it and use it, the rest disdain-

ing it as
something hierarchically inferior.
At the end of February I went to Berlin for the
first performance of my (Edipus, which was being

produced at the Staatsoper under Klemperer. It was

what the Germans call an Urauffuehrung, that is

to say, "world-first performance," for it was then,

in Berlin, that it was given for the first time as an

opera. The execution of OEdipus, which was fol-

lowed by Petroushka and Mavra, was of the highest

order. Musical life was at that time in full swing in

Germany. In contrast with the pre-war custodians

of old dogmas, a fresh public joyfully and gratefully

accepted the new manifestations of contemporary

art. Germany was becoming the center of
definitely
the musical movement, and spared no effort to make

it succeed. In this connection I should like to men-

tion the enlightened activity in the realm of music
of such organizations as the Rundfunk (Radio) in

Berlin and that of Frankfort-on-Main, and to note

particularly the sustained efforts of the latter's ad-

[ 217 ]
 STRAVINSKY
mirable conductor ; Rosbaud ; who,, by his energy,
his taste, his experience, and devotion, succeeded

very quickly in bringing that organization very to a

high artistic pitch. My were

visits to
Germany then

very frequent, and I always went there with the

same pleasure.
After conducting two concerts at Barcelona,
where I gave the Sacre, which up to then had not
been heard there, I went to Rome to conduct my
Rossignol at the Royal Opera, into which the old
Costaiizi Theatre had just been transformed. The
management had at first intended to produce OEdipus
also. It had been produced at the
Staatsoper in Vi-
enna under the direction of Schalk just as he was

going to Berlin. But the plan had to be abandoned

by reason of the overwhelming number of new pro-

ductions for the opening of the Royal Opera.

I then went to Amsterdam to conduct (Edipus

at the
Concertgebouw, which was celebrating its

fortieth anniversary by a series of sumptuous mu-

sical productions. The fine Concertgebouw orchestra,
always at the same high level, the magnificent male
choruses from the Royal
Apollo Society, soloists of
the first rank them
among Mme
Hflfcne Sadoven

[ 218 ]
 STRAVINSKY
as Jocasta, Louis van Tulder as (Edipus, and Paul
Huf an
,
excellent reader and the way in which my
work was received by the public, have left a particu-

larly precious memory that I recall with much en-

joyment.
Soon afterwards I conducted CEdipus in Lon-
don for the British Broadcasting Corporation. That
institution, with which I had already worked for

some years and with which I continue to be on the

best of terms, merits special attention. A few well-

informed and cultured men among them my
friend of long standing, Edward Clark have been
able to form within this huge eclectic organization

a small group which, with praiseworthy energy,

pursues the propaganda of contemporary music, up-

holding its cause with invincible tenacity. The
B.B.C. has succeeded in forming a fine orchestra,

which certainly rivals the best in the world.

I should like here to say a few words about

English musicians. The England has not

fact that

for a long time produced any great creators of music

has given rise to an erroneous opinion concerning

the musical gifts and aptitudes of the English in

general. It is
alleged that they are not musical ; but

[ 219 ]
 STRAVINSKY
this is
contrary to my experience. I have nothing
but praise for their ability., precision, and honest,
conscientious work, as shown in all my dealings
with them ; and I have always been struck by the
sincere and spontaneous enthusiasm which charac-
terizes them in spite of inept prejudice to the con-

trary prevalent in other countries. I am not speak-

ing merely of orchestral artists ; but of choruses and

solo singers ? all alike devoted to their work. It is

therefore not astonishing that I should always have

been more than satisfied with their rendering of my
works, and was so now with GLdipus, in which these
qualities were fully displayed.
I seize this
opportunity of paying a warm trib-
ute to that veteran English conductor, Sir
Henry
Wood, a musician of the first whose great
rank,
gifts Ihad an opportunity of appreciating quite re-

cently in the autumn of 1934 at a concert in

which I conducted Persephone and he most

perfectly
UOiseau de Feu and Feu d'Artifice, and accom-
panied me with so sure a hand when I
played my
Capriccio.
On my return to Paris I played
my Concerto
on May 1 9 under the excellent direction of Bruno

[ 220 ]
 STRAVINSKY
Walter., who ;
thanks to his exceptional ability, made
my task very pleasant, and I was quite free from
anxiety over the rhythmically dangerous passages
which are a stumbling block to so many conductors.

Some days later I conducted (Edipus at the

Salle Pleyel, and this time, on the concert platform

and before an audience attracted solely by the music,
it produced a very different effect from that of its

performance the year before in its setting among

the productions of Russian Ballet.

Apropos of CEdipus, I remember hearing about

that time that it had been given in Leningrad in

the winter at a concert of the State Choral Academy

under the direction of Klimoff, who had previously

given Les Noces. In regard to the theatre in Russia

I have been less fortunate. Under the old regime,

nothing of mine was ever produced. The new regime

at first seemed to be interested in my music. The
state theatres produced my ballets Petroushka,
UOiseau de Feu, and Pulcinella. A clumsy attempt
,o
stage Renard was a failure, and the piece was
;oon taken off. But after that, which was ten years

igo, only Petroushka retained a place in the reper-

ories, and it was rarely given at that. As for my

[ 221 ]
 STRAVINSKY
other works, Le Sacre, Les Noces, Le Soldat, Le
Baiser de la Fee, and my latest creation, Persephone,
have not yet seen the footlights in Russia. From this
I conclude that a change of regime cannot change

the truth of the old adage that no man is a prophet

in his own country. One has only to recall the

United States to show this. There, in the space of a

few years, Le Sacre, Les Noces, and (Edipus have

been successfully produced by Leopold Stokowski,

under the auspices of the League of Composers ; Pe-
troushka and Rossignol at the Metropolitan Opera

House, New York; and, still more recently, Maura,

in Philadelphia, under the direction of Alexander

Smallens.

My ballet, Apollo Musagetes, was given in

Washington for the first time on April 27, with

Adolphe Bolm's choreography. As I was not there I

cannot say anything about it. What interested me

far more was performance in Paris at Dia-
its first

I was myself to conduct

ghileff 's theatre, inasmuch as
the music. My orchestra was so small that I was able
without difficulty to have four rehearsals. This gave
me a chance to make a close study of the score with
the musicians recruited from the great symphonic

[ 222 ]
 STRAVINSKY
orchestras of Paris, whom I knew well ;
as I had fre-

quently worked with them.

As I have already mentioned,, Apollo was com-

posed for a string orchestra. My music demanded

six groups instead of the quartet., as it is usually
called., but, to "be more exact, "quintet/' of the ordi-

nary orchestra, which is composed of first and sec-

ond violins, violas, violoncellos, and double bass. I
therefore added to the regular ensemble a sixth

group, which was to be of second violoncellos. I thus

formed an instrumental sextet, each group of which
had a strictly defined part. This required the estab-
lishment of a well-proportioned gradation in the
matter of the number of instruments for each group.
The importance of these proportions for the

clarity and plasticity of the musical line was very

clearly shown at a rehearsal of Apollo conducted by

Klemperer in Berlin. From the very first pages I was

struck by both the confusion of sound and the exces-
sive resonance. Far from standing out in the ensem-

ble, the various parts merged in it to such an extent

that everything seemed drowned in an indistinct
buzzing. And happened notwithstanding the
this

fact that the conductor knew the score perfectly, and

[ 223 ]
 STRA VINSKY
my movements and nuances.
scrupulously observed
It was simply a matter of the proportions of which
I have just been speaking, and which had not been
foreseen. I drew Klemperer's attention to it imme-

diately,and the necessary adjustments were made.

His ensemble had consisted of sixteen first and four-
teen second violins, ten violas, four first and four

second violoncellos, and six double basses. The new

arrangement was eight first and eight second violins,

six violas, four first and four second violoncellos,

and four double basses. The alteration immediately

produced the desired effect. Everything became

sharp and clear.
How often we composers are at the mercy of

things of that sort, which seem

so insignificant at

first sight! How often it is just they that determine

the impression made on the listener and decide the

very success of the piece! Naturally the public does

not understand, and judges the piece by the way in

which it is presented. Composers may well envy the

lot of painters, sculptors, and writers, who com-
municate directly with their public without having
recourse to intermediaries.

On June 121 conducted the first production of

[ 224 ]
 STRAVINSKY
Apollo Musagetes at the Theatre Sarah Bernhardt
in Paris. As a stage performance I got more satisfac-

tion from this than from Les Noces, which was the
latest thing that Diaghileff had had from me.
Georges Balanchine, as ballet master, had arranged
the dances exactly as I had wished that is to say,
in accordance with the classical school. From that

point of view it was a complete success, and it was

the first attempt to revive academic dancing in a
work actually composed for the purpose. Balanchine,
who had already given proof of great proficiency
and imagination in his ballet productions, notably
in the charming Barabau by Rieti, had designed for

the choreography of Apollo groups, movements, and

lines of great dignity and plastic elegance as in-

spired by the beauty of classical forms. As a thor-

ough musician he had studied at the St. Peters-

burg Conservatoire he had had no difficulty in

grasping the smallest details of my music, and his

beautiful choreography clearly expressed my mean-
ing. As for the dancers, they were beyond all praise.

The graceful Nikitina with her purity of line alter-

nating with the enchanting Danilova in the r&le of

Terpsichore ; Tchernichova and Doubrovska, those

[ 225 ]
 STRAVINSKY
custodians of the best classical traditions ; finally,

Serge Lifar, then still quite young, conscientious,

and full of serious enthusiasm
natural, spontaneous,
for his art all these formed an unforgettable com-

pany. But my satisfaction was less complete in the

matter of costume and decor, in which I did not see

eye to eye with Diaghileff.

As I have already said,
I had it to myself as danced in short white
pictured
ballet skirts in a severely conventionalized theatrical

landscape devoid of all fantastic embellishment such

as would have been out of keeping with my primary

afraid of the extreme
conception. But Diaghileff,

simplicity of my idea, and always on the lookout

for something new, wished to enhance the spectacu-

lar side, and entrusted scenery and costumes to a

provincial painter,
little known to the Paris public

Andr Bauchant, who, in his remote village, in-

dulged in a genre of painting somewhat

in the style

of the douanier Rousseau. What he produced was

interesting, but, as I had expected, it in no way

suited my ideas.
My work was very well received, and its suc-

cess was greater that I had expected, seeing that the

[ 226 ]
 STRAVINSKY
music of Apollo lacked those elements which evoke
the enthusiasm of the public at a first
hearing.

Directly after the Paris performance of Apollo

I went to conduct it at its first London appearance.
As always in England, where the Russian Ballet en-

joys established and unwavering popularity, the

piece was a great success, but it would be impossible
to say in what degree this was due to music, author,

dancers, choreography, subject, or scenery.

There was no rest for me that summer. I spent
it at Echarvines, on the Lake of Annecy, where I

had taken a room in a mason's cottage off the main

road, and there I had installed a piano. I can never

concentrate on my work if I am where I can be over-

heard, so that it was impossible for me to settle down
with my piano in the boarding house in which I was
staying with my family. I therefore chose this iso-
lated place in the hope of finding peace and solitude,

free from all importunate neighbors. I was cruelly

deceived. The workman who had let the room to me

occupied the rest of the house with his wife and

child. He went out in the morning, and all was quiet
till he returned at noon. The family then sat down

[ 227 ]
 STRAVINSKY
to dinner. An acrid and nauseating smell of garlic
and rancid came through the chinks of the parti-
oil

tion which separated me from them, and made me

an exchange of bitter words, the
feel sick. After

mason would lose his temper and begin to swear at

his wife and child, terrifying them with his threats.

The wife would start by answering, and then, burst-

ing into sobs, would pick up the screaming infant
and rush out, followed by her husband. This was

repeated every day with hopeless regularity, so that

the last hour of my morning's work was always
filled with agonizing apprehension. Fortunately
there was no need for me to return to the house in
the afternoon, as I devoted that to work for which
I did not require a piano.

One evening, when my sons and I were sitting

quietly on the verandah of our boarding house, the

silence of the night was suddenly shattered by pierc-

ing shrieks for help. I at once recognized the voice

of the mason's wife, and my sons and I hurried
across the little meadow which separated us from
the house from which the cries were
coming. But
was quiet evidently our footsteps had been heard.
all
;

Next day, at the request of the proprietor of our

[ 228 ]
 STRAVINSKY
boarding house, the mayor of the village, who was
aware of the goings-on of this charming family, ex-

postulated with this desperate character over his

cruelty to his wife. Whereupon the famous scene

from Molifere's Mddecin Malgre Lui was repeated.

Like Martine, the woman resolutely took her hus-
band's part and declared that she had no reason to

complain of him.
It was in that atmosphere that I worked at my
Baiser de la Fee.

Just as I was finishing the music of Apollo at

the end of the preceding year (1927), I received

from Mme Ida Rubinstein a proposal to compose a

ballet for her repertory. The painter Alexandra

Benois, who did some work for her, submitted two

plans, one ofwhich seemed very likely to attract

me. The idea was that I should compose something

inspired by the music of Tchaikovsky. My well-

known fondness for this composer, and, still more,

the fact that November, the time fixed for the per-

formance, would mark the thirty-fifth anniversary

of his death, induced me to accept the offer. It would

give me an opportunity of paying my heartfelt hom-

age to Tchaikovsky's wonderful talent.

[ 229 ]
 STRAVINSKY
As I was free to choose both the subject and

scenario of the ballet ; I began to search for them,

in view of the characteristic trend of Tchaikovsky's

music, in the literature of the nineteenth century.

With that aim, I turned to a great poet with a

gentle, sensitive soul whose imaginative mind was

wonderfully akin to that of the musician. I refer to

Hans Christian Andersen, with whom in this re-

spect Tchaikovsky had so much in common. To re-

call La Belle au Bois Dormant, Casse Noisette, Le

Lac des Cygnes, Pique Dame, and many pieces of
his symphonic work is enough to show the extent of

his fondness for the fantastic.

In turning over the pages of Andersen, with

which I was fairly familiar, I came across a story

I had completely forgotten, which struck me as be-

ing the very thing for the idea that I wanted to ex-

was the very beautiful story known to us as

press. It

The Ice Maiden. I chose that as my theme, and

worked out the story on the following lines. A
fairy
imprints her magic kiss on a child at birth and parts

it from its mother. Twenty years later, when the

youth has attained the very zenith of his good for-

tune, she repeats the fatal kiss and carries him off to

[ 230 ]
 STRAVINSKY
live in supreme happiness with her ever afterwards.
As my object was to commemorate the work of

Tchaikovsky., this subject seemed to me to be par-

ticularly appropriate as an allegory, the muse hav-

ing similarly branded Tchaikovsky with her fatal

kiss, and the magic imprint has made itself felt in
all the musical creations of this great artist.

Although I gave full liberty to painter and

choreographer in the staging of my composition,
my innermost desire was that it should be presented
in classical form, after the manner of Apollo. I pic-

tured all the fantastic roles as danced in white ballet

skirts, and the rustic scenes as taking place in a Swiss

landscape, with some of the performers dressed in

the manner of early tourists and mingling with the
friendly villagers in the good old theatrical tradi-
tion.

As the date of Mme Rubinstein's performances

was not far off, I barely left home all that summer
except for a concert at Scheveningen, for I had not
too much time in which to execute so complicated a

piece of work. As I hate being hurried, and was

afraid of unforeseen obstacles towards the finish, I

seized every hour I could to go ahead with my com-

[ 251 ]
 STRAVINSKY
as possible to the last
position, thus leaving as little
moments. I much preferred tiring myself at the be-

ginning to being hurried at the end.

The following incident indicates how loath I
was to waste time. The day on which I went to Paris
on my way back to Nice, I found, on waking up in
the train, that we were not in the suburbs of Paris,
but in some wholly unexpected spot. It turned out
that on account of the great number of extras put on
by the railway to cope with the congestion caused by
the end of the holidays our train had been shunted

to a siding at Nevers, and I discovered that we

should be four hours late in reaching Paris. Far
from a station and on an empty stomach not even
a scrap of bread was available I was nevertheless
unperturbed by this mishap, and turned it to profit

by working in my compartment during those four

hours.

To finish and orchestrate my music in the

short time available was so heavy a task that I was
unable to follow the work of Bronislava
Nijinska,
who was composing the choreography in Paris bit

by bit as I sent the

parts from Echarvines as com-
pleted. Owing to this, it was not until just before

[ 252 ]
 STRAVINSKY
the first saw her work, and by
performance that I

that time all the principal scenes had been fixed. I

found some of the scenes successful and worthy of

Nijinska's talent. But there was, on the other hand,

a good deal of which I could not approve, and which,
had I been present at the moment of their composi-

tion, I should have tried to get altered. But it was

now too late for any interference on my part, and I

had, whether I liked it or not, to leave things as

they were. It is hardly surprising in these circum-

stances that the choreography of Le Baiser de la Fee

left me cold.

was generously given four rehearsals with

I

the admirable orchestra of the Op&ra. They were

arduous, because at each of them I had to contend

with the dreadful system of deputizing so fatal to

the music when at each rehearsal musicians, without

any warning, send others to take their place. One

has only to recall the amusing story so often re-

peated, which is attributed to various conductors.

Exasperated by seeing new faces at the instrumental-

ists' music stands at every rehearsal, he draws their
attention to it, and suggests that they should follow
the example of the soloist who regularly attends

[ 255 ]
 STRAVINSKY
every rehearsal. At that moment the soloist rises,

thanks the conductor, and informs him that on the

day of the concert he will, to his great regret, have

to send a deputy.

I conducted this ballet twice at the Paris Op6ra,

on November 27 and December 4, at Mme Rubin-
stein's performances. It was also given once at the
Theatre de la Monnaie at Brussels, and once at

Monte Carlo. On both these last occasions it was ad-

mirably conducted $ in Brussels by Corneil de Tho-
ran, and at Monte Carlo by Gustave Cloez. A final

performance was given at the Scala at Milan about

the same time, and after that Mme Rubinstein re-
moved it from her repertory. A few years later,
Bronislava Nijinska produced it
again at the Teatro
Colon Buenos Aires, where she had already given
at

Les Noces, and where both these works had a

great
success. Nor was this an isolated incident. In the
course of the last eight years most of
my symphonic
and stage compositions have been
frequently played
at Buenos Aires, and, thanks to Ansermet's conduct-

ing, the public has been able to get a good idea of

them.
As with my other ballets, I made an orchestra]

[ 254 ]
 STRAVINSKY
suite from the music of Le Baiser de la Fee, which
can be played without much difficulty by reason of
the restricted size of the orchestra
required. I often
conduct this suite myself , and I like the
doing so, all
more because in it I tried a style of and or-
writing
chestration which was new to me, and was one by
means of which the music could be appreciated at

the first
hearing.
At the beginning of the 1928-1929 season a
new organization came into being,, known as the
Orchestre Symphonique de Paris, or O.S.P., created

by Ansermet who became its principal conductor.

;

At its invitation I conducted two concerts at the

;

Theatre des Champs-filys^es with this new group,

and it was a joy to work with these young musi-
cians, who were so well disciplined and so full of
goodwill, and who were forbidden to indulge the
odious habit of deputizing, of which all conductors

complain and from which I suffered so much at the

rehearsals of Le Baiser de la Fee.

About this time I signed a contract for several

years with the great Columbia Gramophone Com-
pany, for which I was exclusively to record my work
both as pianist and conductor, year by year. This

[ 235 ]
 STRAVINSKY
work greatly interested me, for here, far better than
with piano rolls, I was able to express all my inten-
tions with real exactitude.

Consequently these records, very successful

from a technical point of view, have the importance

of documents which can serve as guides to all execu-

tants of my music. Unfortunately, very few conduc-
tors avail themselves of them. Some do not even in-

quire whether such records exist. Doubtless their

dignity prevents others from consulting them, espe-

cially since if once they knew the record they could
not with a clear conscience conduct as
they liked.
Is it not amazing that in our when a sure
times,

means, which is accessible to all, has been found of

learning exactly how the author demands his work

to be executed, there should still be those who will
not take any notice of such
means, but persist in in-
serting concoctions of their own vintage?
Unfortunately, therefore, the rendering re-
corded by the author fails to achieve its most im-

that of
portant object safeguarding his work by
establishing the manner in which it
ought to be
played. This is all the more regrettable since it is not

[ 236 ]
 STRAVINSKY
a question of a haphazard gramophone record of
just any performance. Far from that, the very pur-

pose of the work on these records is the elimination

of all chance elements by selecting from among the
different records those which are most successful. It

is obvious that in even the very best records one may

come across certain defects such as
crackling, a

rough surface, excessive or insufficient resonance.

But these defects, which, for that matter, can be

more or less corrected by the gramophone and the
choice of the needle, do not in the least affect the es-

sential thing, without which it would be impossible

toform any idea of the composition I refer to the

pace of the movements and their relationship to one

another.

When one thinks of the complexity of making

such records, of all the difficulties it presents, of all
the accidents to which it is
exposed, the constant
nervous strain caused by the knowledge that one is

continuously at the mercy of some possible stroke of

bad luck, some extraneous noise by reason of which
it may all have to be done over again, how can one

help being embittered by the thought that the fruit

[ 237 ]
 STRAVINSKY
of so much labor will be so little used, even as a docu-

ment, by the very persons who should be most in-

terested ?

One cannot even pretend that the easygoing

fashion in which "interpreters" treat their contem-

poraries is because they feel that these contempo-

raries have not sufficient reputation to matter. The

old masters, the classics, are subjected to just the same
treatment notwithstanding all their authority. It is

enough to cite Beethoven and to take as an illustra-

tion his Eighth Symphony, which bears the com-

poser's own precise metronomic directions. But are
they heeded? There are as many different render-

ings as there are conductors! "Have you heard my

Fifth, my Eighth?" that is a phrase that has be-
come quite usual in the mouths of these gentlemen,

and their mentality could not be better

exemplified.
But, no matter how disappointing the work is
when regarded from this point of view, I do not for
a moment regret the time and effort spent on it. It

gives me the satisfaction of

knowing that everyone
who my
listens to records hears my music free from

any distortion of my thought, at least in its essential

elements. Moreover, the work did a good deal to de-

[ 238 ]
 STRAVINSKY
velop my technique as a conductor. The frequent
repetition of a fragment or even of an entire piece,
the sustained effort to allow not the slightest detail

to escape attention, as may happen for lack of time

at any ordinary rehearsal, the necessity of observ-

ing absolute precision of movement as strictly de-

termined by the timing all this is a hard school in

which a musician obtains very valuable training and

learns much that is extremely useful.
In the domain of music the importance and in-
fluence of its dissemination by mechanical means,
such as the record and the radio those redoubtable

triumphs of modern science which will probably un-

dergo still further development make them worthy
of the closest investigation. The facilities that they
offer to composers and executants alike for reaching

great numbers of listeners, and the opportunities

that they give to those listeners of acquainting them-

selves with works they have not heard, are obviously

indisputable advantages. But one must not overlook

the fact that such advantages are attended by seri-

ous danger. In John Sebastian Bach's days it was

necessary for him to walk ten miles to a neighbor-

ing town to hear Buxtehude play his works. Today

[ 239 ]
 STRAVINSKY
to turn a
anyone, living no matter where, has only
knob or put on a record to hear what he likes. In-

deed, it is in just this incredible facility, this lack of

necessity for any effort, that the evil of this so-called

progress lies. For in music, more
than in any other

branch of art, understanding is given only to those

who make an active effort. Passive receptivity is not

enough. To listen to certain combinations of sound

and automatically become accustomed to them does
not necessarily imply that they have been heard and
understood. For one can listen without hearing, just

as one can look without seeing. The absence of ac-

tive effort and the liking acquired for this facility

make for laziness. The radio has got rid of the neces-

sity which existed in Bach's day for getting out of

one's armchair. Nor are listeners any longer im-

pelled to play themselves, or to spend time on learn-

ing an instrument in order to acquire a knowledge
of musical literature. The wireless and the
gramo-
phone do all that. And thus the active faculties of lis-
teners, without which one cannot assimilate music,

gradually become atrophied from lack of use. This

creeping paralysis entails very serious consequences.

Oversaturated with sounds, blasd even before com-

[ 240 ]
 STRAVINSKY
binations of the utmost variety, listeners fall into a

kind of torpor which deprives them of all power of

discrimination and makes them indifferent to the

quality of the pieces presented. It is more than likely

that such irrational overfeeding will make them lose
all appetite and relish for music. There will, of

course, always be exceptions, individuals who will

know how to select from the mass those things that

appeal to them. But for the majority of listeners
there is every reason to fear that, far from develop-
ing a love and understanding of music, the modern
methods of dissemination will have a diametrically

opposite effect that is to say, the production of in-

difference, inability to understand, to appreciate, or

to undergo any worthy reaction.
In addition, there is the musical deception aris-

ing from the substitution for the actual playing of

a reproduction, whether on record or film or by
wireless transmission from a distance. It is the same

difference as that between the ersatz and the authen-

tic. The danger lies in the very fact that there is al-

ways a far greater consumption of the ersatz, which,

it must be remembered, is far from
being identical
with its model. The continuous habit of listening to

[ 241 ]
 STRAVINSKY
changed, and sometimes distorted, timbres spoils the
ear, so that it gradually loses all capacity for en-

joying natural musical sounds.

All these considerations may seem unexpected
in coming from one who has worked so much, and
is still
working, in this field. I think that I have

sufficiently stressed the instructional value that I un-

reservedly ascribe to this means of musical repro-

duction but that does not prevent

;
me from seeing its
negative sides, and I anxiously ask myself whether
they are sufficiently outweighed by the positive ad-
vantages to enable one to face them with impunity.

[ 242 ]
^AMMA/VWVWU/VVll'VVWVVVl/VI^

10

I HAVE now brought my up to the year

chronicle

1 929, a year overshadowed by a great and grievous

event the passing of Diaghileff. He died on Au-

gust 1 9, but his loss moved me so profoundly that

it dwarfs in my memory all the other events of that

year. I shall, therefore, somewhat anticipate the

chronology of my narrative in order to speak here

of my late friend.
At the beginning of my career he was the first
to single me out for encouragement, and he gave

me real and valuable assistance. Not only did he like

my music and believe in my development, but he

did his utmost to make the public appreciate me. He
was genuinely attracted by what I was then writ-

ing, and it gave him real pleasure to produce my

work, and, indeed, to force it on the more rebellious

of my listeners, as, for example, in the case of the

Sacre du Printemps. These feelings of his, and the

[ 243 ]
 STRAVINSKY
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.

Our friendship, which lasted for almost twenty

marked from time to time by con-
years ; was, alas!
flicts which, as I have already said, were due to his

extreme jealousy. It is obvious that my relations

with Diaghileff could not but undergo a certain

change in the later years in view of the broadening

of the field of my personal and independent activi-
ties, and of the fact that my collaboration with the

Russian Ballet had lost the continuity it had earlier

enjoyed. There was less affinity than before in our

ideas and opinions, which, as time went on, fre-

quently developed in divergent directions. "Modern-

ism" at any price, cloaking a fear of not being in
the vanguard ; the search for something sensational;

uncertainty as to what line to take these things

wrapped Diaghileff in a morbid atmosphere of pain-

ful gropings. All this prevented me from being in
sympathy with everything he did, and this made us

[ 244 ]
 STRAVINSKY
less frank in our relations with each, other. Rather
than upset him, I evaded these questions, especially
as my arguments would have served no useful pur-

pose. It is true that with age and ill health his self-

assurance had decreased, but not his temperament

or his habitual obstinacy, and he would certainly

have persisted in a heated defense of things which
I felt sure that he was not certain about in his inner-

most being.

My last contact with Diaghileff was in connec-

tion with Renardy which he was re-creating for his

spring season at the Theatre Sarah Bernhardt. With-

out entering here into a discussion of the new set-

ting, I must say that I missed the first version cre-

ated by Nijinska in 1922, of which I have already

spoken.
After that season in Paris I saw him only once

casually, and at a distance on the platform of the

Gare du Nord, where we were both taking the train
for London. Six weeks later the news of his death

reached me at Echarvines, where

was spending the
I

summer as I had done the year before. I had been

out with my sons to see Prokofiev, who was living

[ 245 ]
 STRA FINSKY
in the neighborhood. On returning late, we were
met by my wife, who had sat up to give us the sad
news which had been telegraphed from Venice.
was not entirely unprepared for his death. I
I

knew that he had diabetes, though I did not know

that it was so serious as to be dangerous, especially
as at his age his robust constitution should have en-
abled him to combat the disease for some years. His

physical condition had not, therefore, caused me any

alarm. But, of late, in watching the usual activities

of his everyday life, I had formed the impression

that his moral forces were rapidly disintegrating,
and was haunted by the thought that he had
I

reached the limit of his life. That is

why his death,
though it caused me acute grief as our final parting,
did not greatly surprise me.

At the moment I naturally did not much

give
thought an estimate of the influence of
to
Diaghi-
lefFs activity, indeed of his in the world
very life,
of art. I
gave myself up to my grief, mourning a
friend, a brother, whom I should never see again.
This separation gave rise to
many feelings,
many memories, which were dear to
only me. It is

today, with the of the

passing years, that one begins

[ 246 ]
 STRAVINSKY
to realize everywhere and in everything what a ter-
rible void was created by the disappearance of this
colossal figure, whose greatness can only be meas-
ured fully by the fact that it is impossible to replace
him. The truth of the matter is that everything that

is
original is irreplaceable. I recall this fine phrase
of the painter Constantine Korovine : "I thank you,"
he said one day to Diaghileff, "I thank you for be-

ing alive."
I devoted most of 1929 to the composition of

my Capriccio, had begun the Christmas be-

which I

fore. As so often happened with me, this work was

several times interrupted by unavoidable journeys.

In February I went to conduct CEdipus at a concert
in the Dresden Opera House, where I was particu-

larly impressed by the incomparable finish of the

Dresdner Lehrergesangsverein choirs. CEdipus was

the sole item on the program, and was given twice

on the same day at a public general rehearsal at

noon, and at the concert itself in the evening.

A little later La Soci&te Philharmonique de

Paris asked me to conduct a concert of my chamber

music. It took place at the Salle Pleyel on March 5.

The program included L'Histoire d'un Soldat and

[ 247 ]
 STRAVINSKY
the Octuor, and I myself played my Sonate and my
Serenade for the piano. I take this opportunity of

expressing my appreciation of that admirable group

of Paris soloists who have for many years lent their

talent and their wonderful enthusiasm to enhance

the value of my work, whether in concerts, in the

theatre ; or in the fatiguing process of making rec-

ords. I want particularly to mention Darieu and

Merckel (violiris) , Boussagol (double bass) , Moyse

(flute) ,
Gaudeau (clarinet) ,
Dherin and Grand-
maison (bassoons) , Vignal and Foveau (trumpets) ,

Delbos and Tudesque (trombones) ;

and Morel (per-

cussion) .

My visits to London stand out among the pleas-

ant memories of my journeys that year. London is

so delightful at the
beginning of the summer, with
its
green lawns, the beautiful trees in the parks, the
river on its outskirts gay with numberless boats, and
everywhere the frank good humor of healthy ath-
letic youth. In such an atmosphere work is easy, and
I much enjoyed playing my Concerto with that bril-
liant English
musician, Eugene Goossens, as con-
ductor, and myself conducting Apollo and for the

[ 248 ]
 STRAVINSKY
first time in England Le Baiser de la Fee for the

B.B.C.

The enjoyment of my few days in London was

enhanced by the presence of Willy Strecker, one of
the owners of the publishing firm of Schott Sohne

at Mainz, a clever, cultured man with whom, apart

from business relations, I am on the friendliest
terms, as indeed I am with all his charming family,
who always give me the kindest welcome when I go
to Wiesbaden, where they live.

At that time Diaghileff 's Russian Ballet was

taking part in the Festspiele season in Berlin. Their

performances were being given at the two state
theatres at the Opera, Unter den Linden, and at

the Charlottenburg Opera. Le Sacre du Printemps

and Apollo were among the works which had their
first stage performance there. A few days earlier

Klemperer had given Apollo a first hearing at a con-

cert of my music, in which I played my Concerto.

I was prevented from seeing the Diaghileff per-

formances, as I was urgently wanted in Paris to

make some gramophone records, and I did not re-
gret it. I knew that the ballets were to come at the
end of the Festspiele, when the orchestras of the two

[ 249 ]
 STRAVINSKY
theatres would be worn out by their heavy work
throughout the festival season. Besides, as always
happened when the Ballet was on tour, all that the

theatres or impresarios cared about was the scenic

effects, troubling very little about the musical aspect,

though trying to find composers whose names would

attract the public. In this case the same conditions

prevailed, so that, notwithstanding all the efforts of

a conductor like Ansermet, I expect that my absence
saved me from somewhat painful impression.
a

I worked at my Capriccio all summer and fin-

ished it at the end of September. I played it for the

first time on December 6 at a Paris Symphony Or-
chestra concert, Ansermet conducting, i had so often

been asked in the course of the few years to last

play my Concerto (this I had already done no fewer

than forty times) that I thought that it was time to

give the public another work for piano and orches-

tra. That is why I wrote another concerto, which I

called Capriccio, that name seeming to indicate best

the character of the music. I had in mind the defini-

tion of a capriccio
given by Praetorius, the celebrated
musical authority of the
eighteenth century. He re-
garded it as a synonym of the fantasia, which was a

[ 250 ]
 STRAVINSKY
freeform made up of fugato instrumental passages.

This form enabled me to develop my music by the

juxtaposition of episodes of various kinds which fol-

low one another and by their very nature give the

piece that aspect of caprice from which it takes its

name.
There is little wonder that, while working at
my Capriccio, I should find my thoughts dominated
by that prince of music. Carl Maria von Weber,
whose genius admirably lent itself to this manner.
Alas! no one thought of calling him a prince in his

lifetime! I cannot refrain from quoting (authen-

tically) the startling opinion that the celebrated
Viennese dramatic poet, Franz Grillparzer, had of

Euryanthe and its composer 5 1 found it in a striking

anthology of classical criticisms published by Schott.

It runs as follows: "What I had feared on the ap-

pearance of Freischutz seems now to be confirmed.

Weber certainly has a poetical mind, but he is no
musician. Not a trace of melody, not merely of pleas-

ing melody but of any sort of melody. . . . Tatters of

ideas held together solely by the text, without any

inherent musical sequence. There is no invention 5

even the way in which the libretto is handled is de-

[ 251 ]
 STRAVINSKY
void of originality. A total lack of arrangement and
color. . . . This music is horrible. This inversion of

of would in ancient
euphony, this violation beauty,

Greece have been punished by the state with penal

sanctions. Such music is contrary to police regula-

tions. It would give birth to monstrosities if it man-

aged to get about."

It is quite certain that no one would dream

Far
nowadays of sharing Grillparzer'g, indignation.

from that ^ those who consider themselves advanced,

if they know Weber, and still more if they do not

know him, make a merit of treating him with con-

tempt as a musician who is too easy, out of date,

and at the best can appeal only to old fogies. Such

might perhaps be understandable on

an attitude the

part of those who are musically illiterate, and whose

self-assurance is too often equaled only by their in-

competence. But what can be said

for professional

musicians when they are capable of expressing such

opinions as, for example, those I have heard from

Scriabine? It is true that he was not speaking of

Weber, but of Schubert, but that does not alter the

case. One day when Scriabine with his usual em-

verbosities con-
phasis was pouring out ideological

[ 252 ]
 STRAVINSKY
cerning the sublimity of art and its
great pontiffs.,

I, on my side, began to praise the

grace and elegance
of Schubert's waltzes, which I was replaying at the
time with real pleasure. With an ironical smile of
commiseration he said: "Schubert? But look here,
that is only fit to be strummed on the
piano by
little girls!"

The Boston Symphony Orchestra decided that

winter to celebrate its fiftieth
anniversary, which
would fall in 1930, by a series of festivals. This
famous organization wished to give them a special
interest by presenting symphonic works specially
written for the occasion by contemporary composers.
Koussevitzky, who has been at the head of this ad-
mirable orchestra for years, asked me to cooperate

by composing a symphony for them.

The idea of writing a symphonic work of some

length had been present in my mind for a long time,
and I therefore gladly
accepted a proposal so thor-
oughly in accord with my wishes. I had a free hand
alike as to the form of the work and as to the means
of execution I might think necessary. I was tied

only by the date for the delivery of the score, but

that allowed me ample time.

[ 255 ]
 STRAVINSKY
Symphonic form as bequeathed to us by the
nineteenth century held little attraction for me, in-
asmuch had flourished in a period the language
as it

and ideas of which were all the more foreign to us

because was the period from which we emerged.
it

As in the case of my Sonate, I wanted to create an

organic whole without conforming to the various
models adopted by custom, but still
retaining the
periodic order by which the symphony is distin-

guished from the suite, the latter being simply a

succession of pieces varying in character.

I also had under consideration the sound ma-

terial with which to build my edifice. My idea was
that my symphony should be a work with great con-
trapuntal development, and for that it was necessary
to increase the media at my disposal. I finally de-
cided on a choral and instrumental ensemble in

which the two elements should be on an equal foot-

ing, neither of them outweighing the other. In this

instance my point of view as to the mutual relation-

ship of the vocal and instrumental sections coincided

with that of the masters of contrapuntal music, who

also treated them as
equals, and neither reduced the
role of the choruses to that of a
homophonous chant

[ 254 ]
 STRAVINSKY
nor the function of the instrumental ensemble to

that of an accompaniment.

I sought for my words, since they were to be

sung, among those which had been written for sing-

ing. And quite naturally my first idea was to have

recourse to the Psalms. Soon after the first perform-

ance of my symphony, a criticism was forwarded to
me in which its author asked: "Has the composer

attempted to be Hebrew in his music Hebrew in

spirit, after the manner of Ernest Bloch, but without

too much that is reminiscent of the synagogue?"

This gentleman does not seem to know that

after two thousand years the Psalms are not nec-

essarily associated with the synagogue, but are the

main foundation of the prayers, orisons, and chants

of the Church. But, apart from his real or pretended

ignorance, does not the ridiculous question he asks

reveal only too clearly a mentality that one encoun-

ters more and more frequently today? Apparently

people have lost all capacity to treat theHoly Scrip-
tures otherwise than from the point of view of eth-

nography, history, or picturesqueness. That anyone

should take his inspiration from the Psalms without

giving a thought to these side issues appears to be

[ 255 ]
 STRAVINSKY
incredible to them, and so they demand explanations.
Yet it seems quite natural to them that a piece of

jazz should be called Alleluia.

All these misunder-

standings arise from the fact that people will always

insistupon looking in music for something that is

not there. The main thing for them is to know what
the piece expresses, and what the author had in
mind when he composed it. They never seem to

understand that music has an entity of its own apart

from anything that it may suggest to them. In other

words, music interests them in so far as it touches

on elements outside it while evoking sensations with
which they are familiar.
Most people like music because it
gives them cer-

tain emotions, such as joy, grief, sadness, an image

of nature, a subject for daydreams, or still better
oblivionfrom "everyday life." They want a drug

"dope." It matters little whether this way of

thinking of music is expressed directly or is
wrapped
up in a veil of artificial circumlocutions. Music
would not be worth much if it were reduced to such
an end. When people have learned to love music for

itself, when they listen with other ears, their enjoy-

ment will be of a far higher and more potent order,

[ 256 ]
 STRAVINSKY
and they will be able to judge on a higher plane
it

and realize its intrinsic value. Obviously such an

attitude presupposes a certain degree of musical

development and intellectual culture, but that is

not very difficult of attainment. Unfortunately, the

teaching of music, with a few exceptions, is bad

from the beginning. One has only to think of all the

sentimental twaddle so often talked about Chopin,

Beethoven, and even about Bach and that in schools

for the training of professional musicians! Those

tedious commentaries on the side issues of music

not only do not facilitate its understanding, but, on

the contrary, are a serious obstacle which prevents

the understanding of its essence and substance.

All these considerations were evoked by my

Symphonic des Psaumes because, both by the public
and the press, the attitude I have just described was

specially manifested in regard to that work. Not-

withstanding the interest aroused by the composi-

tion, I noticed a certain perplexity caused, not by
the music as such, but by the inability of listeners
to understand the reason which had led me to com-

pose a symphony in a spirit which found no echo in

their mentality.

[ 257 ]
 STRAVINSKY
As always of late years, my work on the Sym-
phonie des Psaumes, begun about the New Year,

suffered many by reason of the nu-

interruptions
merous European concerts in which I took part either
as pianist or conductor. The Capriccio, my latest

composition, was already in

demand in various
towns. I had to play it at Berlin, Leipzig, Bucharest,

Prague, and Winterthur. Moreover,

I had to con-

duct concerts at Diisseldorf , Brussels, and Amster-

dam. But by the beginning of the summer I was at

last able to devote all my time to the symphony, of

which, so had finished only one part. I had to

far, I

write the whole of the other two parts, and did so,

partly at Nice, partly at Charavines,

where I spent

the latter part of the summer on the shore of the

little Lake Paladru. I put the final touches to the

music on August 15, and was then able to concen-
trate quietly on the orchestration which I had begun
at Nice.

My peregrinations began again in the autumn,

and continued till December. I toured all central

Europe, beginning with Switzerland (Basle, Zurich,

Lausanne, Geneva) and ending with Brussels and
,

Amsterdam. Besides that, and in addition to Berlin

[ 258 ]
 STRAVINSKY
and Vienna., I visited
Mainz, Wiesbaden, Bremen,
Munich, Nuremberg, Frankfort-on-Main, and
Mannheim, nearly always playing my Capriccio or
conducting my works.
The first European audition of the Symphonie
des Psaumes took place at the Palais des Beaux Arts

of Brussels, under the direction of Ansermet. Kous-

sevitzky gave it in Boston at the same time. The

Brussels concert at which I played my Capriccio,
which was repeated on the following day, has left
a very pleasant memory. Many friends had come

from Paris to hear my new work, and I was deeply

touched by their sympathy and the warmth of the

reception that the symphony received from the pub-

lic. As was to be expected, the execution was perfect,
and the admirable choruses of the Soci<k6 Philhar-

monique once more lived up to the reputation for

expert proficiency which they so justly enjoy in

Belgium.
While at Mainz and Wiesbaden I frequently
saw Willy Strecker. He talked to me a good deal
about a young violinist, Samuel Dushkin, with whom
he had become very friendly and whom I had never
met. In the course of our conversations he asked me

[ 259 ]
 STRAVINSKY
whether I should care to write something for the
should find a re-
adding that in Dushkin I
violin,

markable executant. I hesitated at first, because I

am not a violinist, and I was afraid that my slight
be
knowledge of that instrument would not
sufficient

to enable me to solve the many problems which would

necessarily arise in the course of
a major work
specially composed for it. But Willy Strecker allayed

my doubts by assuring me that Dushkin would place

himself entirely at my disposal in order to furnish

any technical details I might require. Under such

conditions the plan was very alluring,, particularly

as it would give me a chance of studying seriously

the special technique of the violin. When he learned

had in principle accepted Strecker's proposal,
that I

Dushkin came to Wiesbaden to make my acquaint-

ance. I had not previously met him or heard him

play. All I knew was that he had studied the violin

and music in general in America, where, in his

early childhood, he had been adopted by the Amer-

ican composer, Blair Fairchild, a man of great dis-

tinction, rare kindness, and a mind remarkable for

its delicate
sensibility.
From our first
meeting I could see that Dush-

[ 260 ]
 STRAVINSKY
kin was all that Willy Strecker had said. Before
knowing him I had been a little doubtful, in spite
of the weight that I attached to the recommendation

of a man of such finished culture as my friend

Strecker. I was afraid of Dushkin as a virtuoso. I

knew that for virtuosi there were temptations and

dangers that they were not all capable of overcom-

ing. In order to succeed they are obliged to seek im-

mediate triumphs and to lend themselves to the
wishes of the public ; the great majority of whom
demand sensational effects from the player. This

preoccupation naturally influences their taste ; their

choice of music ; and their manner of treating the

piece selected. How many admirable compositions,

for instance ; are set aside because they do not offer

the player any opportunity of shining with facile

brilliancy! Unfortunately; they often cannot help

themselves 7 fearing the competition of their rivals

and; to be frank; the loss of their bread and butter.

Dushkin is an exception in this re-
certainly

spect among many of his fellow players ; and I was

very glad to find in him; besides his remarkable

gifts as a born violinist; a musical culture; a delicate

understanding; and in the exercise of his profes-

[ 261 ]
 STRAVINSKY
sion an abnegation that is very rare. His beautiful
mastery of technique comes from the magnificent
school of Leopold Auer, that marvelous teacher to

whose instruction we owe nearly all the celebrated

violinists of today. A Jew, like the great majority of

leading violinists, Dushkin possesses all those innate

gifts which make representatives of that race the

unquestionable masters of the violin. The greatest

names among these virtuosi have in fact a Jewish
sound. Their owners should be proud of them, and
it is difficult to understand why most of them per-
sist in prefixing Russian diminutives such as are

generally used only among intimates. Instead of

Alexander they call themselves Sacha; instead of

Jacob or James, Yasha; instead of Michael, Misha.

Being ignorant of the language and usages of Rus-

sia, foreigners can have no idea of how such lack of

though one spoke of Julot Mas-

taste jars. It is as

senet or Popol Dukas!

I began the composition of the first

part of my
Concerto pour Violon early in 1931. I had devoted
about a month to it when I was obliged to leave it

for the time being, as I had to to Paris and Lon-

go
don. In Paris I took part in two concerts
given by

[ 262 ]
 STRAVINSKY
Ansermet. In the first, on February 20, I played my
Capriccio,and on February 24 I conducted my Sym-

phonic des Psaumes at its first Paris audition. On

this occasion my work with the was par-
orchestra

ticularly interesting to me because the Columbia

firm had arranged with Ansermet that records
should be made of the symphony at the Th4&tre des

Champs-filys^es, during which I was to prepare for

the concert. The performance could not fail to bene-
fit by this, as the rehearsals had to be conducted

with that exceptionally minute care which ;

as I have
already pointed out, is demanded by all records.

It was at the Courtauld-Sargent Concerts, on

March 5 and 4, that I played my Capriccio for the
first time in London. These concerts bear the name
of their founder, Mrs. Courtauld, who, animated

by the best intentions, ably seconded by the conduc-

tor Sargent,had by her energy infused life into a
musical undertaking which might well have be-
come still more important under her influence. She
was the patron of young artists and sincerely in-
terested in new works, so that the programs of her
concerts were frequently differentiated by their
freshness from the routine and colorless programs

[ 263 ]
 STRAVINSKY
which generally characterize the musical life of

great centers., London included. Alas patrons of her !

quality become more and more rare, and the prema-

ture death of this generous benefactor cannot be too

deeply deplored. The organization survives her

death, but no longer bears the special imprint given

by the enthusiasm of its founder.

I was glad to return to Nice and be able to take

up my Concerto again. The first part was completed

at the end of March, and began the other two.
I

This took up all my time, and it was made particu-

by the enthusiasm and understanding

larly pleasant
with which Dushkin followed my progress. I was
not a complete novice in handling the violin.
Apart
from my pieces for the string quartet and numerous

passages in Pulcinella, I had had occasion, particu-

larly in the Histoire d'un Soldat, to tackle the tech-

nique of the violin as a solo instrument. But a

concerto certainly offered a far vaster field of
experi-
ence. To know the technical possibilities of an in-
strument without being able to it is one thing
play ;

to have that
technique in one's finger quite tips is
another. I realized the and before
difference, begin-
ning the work I consulted who is a
Hindemith, per-

[ 264 ]
 STRAVINSKY
feet violinist. I asked him whether the fact that I did

not play the violin would make itself felt in my

composition,. Not only did he allay my doubts, but
he went further and told me that it would be a very

good thing, as it would make me avoid a routine

technique, and would give rise to ideas which would
not be suggested by the familiar movement of the

fingers.
had barely begun the composition of the last
I

part of the Concerto when I had to see to our re-

moval from Nice to Voreppe in Is&re, where I had
taken. a small property for the summer. I had de-
cided to leave Nice after having lived there for seven

years, and at first thought of living in Paris, but the

pure air of the Is&re valley, the peacefulness of the
country, a very beautiful garden, and a large, com-
fortable house induced us to settle there for good,

and there we stayed for three years. There I fin-

ished my latest composition among half-unpacked

trunks and boxes and the- coming and going of re-

movers, upholsterers, electricians, and plumbers. My

faithful Dushkin, who was near Grenoble and not
far from us, used to come to see me every day. He
was assiduously studying his part so as to be ready

[ 265 ]
 STRAVINSKY
in time, as the Berlin Rundfunk had secured the
first audition of the Concerto, which was to be

played under my direction on October 25.

After conducting concerts at Oslo ;
I went to

Berlin. There my new work was very well received,

as it was also in
Frankfort-on-Main, London,
Cologne, Hanover, and Paris, where Dushkin and I

played in November and December. In an interval

between concerts at Halle and Darmstadt, I spent
about a fortnight at Wiesbaden, and so was able to
hear the first performance of a new composition by
Hindemith his cantata Das Unaufhorliche, given
at the centenary festival of the Mainz Liedertafel.

This composition, large alike in size and substance

and the varied character of its parts, offers an excel-
lent opportunity for with the
getting into touch
author's individuality, and for admiring his rich
talent and brilliant mastery. The appearance of
Hindemith in the musical life of our day is
very
fortunate, for he stands out as a wholesome and
illuminating principle amid so much obscurity.
Far from having exhausted my interest in the

violin, my Concerto, on the contrary, impelled me

to write yet another important work for that instru-

[ 266 ]
 STRAVINSKY
ment. had formerly had no great liking for a com-
I

bination of piano and strings but a deeper knowl-

;

edge of the violin and close collaboration with a

technician like Dushkin had revealed possibilities I

longed to explore. Besides, it seemed desirable to

open up a wider field for my music by means of

chamber concerts, which are so much easier to ar-

of
range, as they do not require large orchestras

high quality, which are so costly and so rarely to be

found except in big cities. This gave me the idea of

writing a sort of sonata for violin and piano

that I

called Duo Concertant and which, together with

transcriptions of a few of my other works, was to

form the program of recitals that I proposed to give

with Dushkin in Europe and America.

of 1 931
began the Duo Concertant at the end
I

and finished it on the July 1 5 following. Its com-

position is closely connected in my mind with a book

which had just appeared and which had greatly de-

lighted me. It was the remarkable Petrarch of

Charles Albert Cingria, an author of rare sagacity

and deep originality. Our work had a great deal in

common. The same subjects occupied our thoughts,

and, although we were now living far apart and sel-

[ 267 ]
 STRAVINSKY
dom saw each other, the close agreement between
our views, our tastes., and our ideas, which I had no-
ticed when we first met twenty years before, not

only still existed, but seemed even to have grown

with the passing of the years.

"Lyricism cannot exist without rules, and it is

essential that they should be strict. Otherwise there

is only a faculty for lyricism, and that exists every-
where. What does not exist everywhere is
lyrical ex-

pression and composition. To achieve that, appren-

ticeship to a trade is necessary." These words of

Cingria seemed to apply with the utmost appropri-

ateness to the work I had in hand. My object was to
create a lyrical composition, a work of musical versi-

fication, and was more than ever experiencing the

I

advantage of a rigorous discipline which gives a

taste for the craft and the satisfaction of
being able
to apply it and more particularly in work of a lyri-
cal character. It would be appropriate to quote in
this connection the words of one who is
regarded
above all as a lyrical composer. This is what Tchai-
kovsky says in one of his letters : "Since I began to

compose I have made it my object to be, in my craft,

what the most illustrious masters were in theirs 5

[ 268 ]
 STRAVINSKY
that is to say, I wanted to be, like them, an artisan,
just as a shoemaker... [They] composed their
is.

immortal works exactly as a shoemaker makes shoes ;

that is to say, day in, day out, and for the most part
to order." How true that is! Did not Bach, Handel,
Haydn, Mozart, Beethoven, to cite the best-known
names, and even leaving the early Italians out of
consideration, compose their works in that way?
The spirit and form of my Duo Concertant
were determined by my love of the pastoral poets of

antiquity and their scholarly art and technique. The

theme that had chosen developed through all the
I

five movements of the piece which forms an integral

whole, and, as it were, offers a musical parallel to
the old pastoral poetry.

The work was interrupted only by a few con-

Antwerp, Florence, and Milan. Its first per-
certs at

formance was in Berlin on October 28, 1932, at the

broadcasting station, where, under my direction,

Dushkin also played my Concerto pour Fiolon. We
then gave a series of recitals for piano and violin,
the programs including the above-mentioned tran-

scriptions as well as the Duo Concertant. We played

that winter at Danzig, Paris, Munich, London, and

[ 269 ]
 STRAVINSKY
Winterthur, and in between I conducted and played
at Konigsberg,Hamburg, Ostrava, Paris, Budapest,
Milan, Turin, and Rome. My visits to the Italian
towns left a particularly pleasant impression. I am
always delighted to go to Italy, a country for which
I have the deepest admiration. And this admiration
is increased by the marvelous regenerative effort

which has manifested itself there for the last ten

years, and is still

manifesting itself in every direc-

tion. I had proof of this in my own domain when I

conducted my works among others, the Sym-

phonie des Psaumes with the orchestra of the
Turin Radio, a new and distinguished organization.
At the beginning of 1955, Mme Ida Rubin-
stein had inquired whether I would consent to write
the music for a poem by Andr6 Gide, which he had
planned before the war and which Mme Rubinstein

wished to stage. I
agreed in principle, and at the end
of January Andr Gide joined me at Wiesbaden,
where I happened to be staying. He showed me his
poem, which was taken from the superb Homeric
hymn to Demeter. The author expressed his will-

ingness to make any modification in the text re-

quired by the music and under such conditions an

[ 270 ]
 STRAVINSKY
agreement was quickly reached. A few months later
I received the first part of the poem and set to work
on it.

With the exception of two melodies for some

lines by Verlaine ?
this was my first experience of

composing music for French words. I had always

been afraid of the difficulties of French prosody.

Although I had been living in France for twenty

years, and had spoken the language from childhood,
I had until now hesitated to use it in my music. I

now decided to try my hand, and was more and

more pleased as my work proceeded. What I most
enjoyed was syllabifying the music to French, as I
had done for Russian in Les Noces, and for Latin in
(Edipus Rex.
I worked at the music of Persephone from

May, 1933, till I finished it at the end of the year.

In November I gave several concerts in Spain. At

Barcelona, at a festival which I conducted, I had the

joy of presenting my son Sviatoslav to the public for

the first time. He played my Capriccio. He made his
Paris debut a year later with the symphony orches-

tra, when he played the Capriccio and my Concerto

pour Piano under my direction.

C 271 ]
 STRA FINSKY
In March, 1954, having finished the orches-
tral score, I was able to undertake a journey to

Copenhagen to play my Capriccio for the radio, and

I then made a concert tour with Dushkin in Lithu-
ania and Latvia. On my return to Paris, I took part

in one of Siohan's concerts. He had recently been

put in charge of the chorus at the Op6ra. He had al-

ready had the chorus make a careful study of the

several parts of Persephone, so that when I started

rehearsals I found them very well prepared. As for

the orchestra, it was, as usual, at the top of its form.
But again, as usual, I had no end of trouble over the
fatal custom of deputizing. There maybe some justi-
fication for it when the current opera repertory is in

question, but it is absurd and harmful when the

work is not in the ordinary program, is wholly un-
known to the musicians, and is to be given only a
few times. Persephone was given only three times
at the Paris Op6ra on April 50 and May 4 and
9, 1954. My participation was limited to conduct-

ing the music. The scenic effects were created with-

out consulting me. I should like here to
express my
appreciation of the efforts made by Kurt Jooss, as
master choreographer, and my regret that the poet

[ 272 ]
 STRAVINSKY
was absent both from rehearsals and the actual per-
formances. But the incident is all too recent for me
to discuss it with the necessary detachment.
On the other hand, I was completely satisfied
when I conducted Persephone at a B.B.C. concert

in London at the end of 1 954. Mme Ida Rubinstein

lent her valuable services, and so did Ren6 Maison,
the excellent tenor who, with his musical flair, had
so admirably rendered the songs of Eumolpus at the

Paris performances.

Now that I have spoken about my last big com-

position, I have brought my chronicle almost up to

date, and it is time to end it. Have I attained the ob-

jective I set before myself as described in my fore-

word? Have I given the reader a true picture of my-

self? Have I dispelled all the misconceptions which
have accumulated about my work and my person-
ality? I hope so.

The reader will have discovered that my book

is not a diary. He will not have found any lyrical

outpourings or intimate confessions. I have deliber-

ately avoided all that sort of thing. Where I have

spoken of my tastes, my likes and dislikes, it has

been only so far as was necessary to indicate what

[ 275 ]
 STRAVINSKY
aremy ideas, my convictions, and my point of view,
and to describe my attitude towards other mentali-
ties. In short, I have striven to set forth without any

ambiguity what I hold to be the truth.

It would be vain, also, to seek in these pages

for any aesthetic doctrine, a philosophy of art, or

even a romantic description of the pangs experi-

enced by the musician in giving birth to his crea-

tions, or of his rapture when the muse brings him

inspiration. For me, as a creative musician, composi-
tion is a daily function that I feel compelled to dis-

charge. I compose because I am made for that and

cannot do otherwise. Just as any organ atrophies un-
less kept in a state of constant activity, so the faculty
of composition becomes enfeebled and dulled unless

kept up by effort and practice. The uninitiated im-

agine that one must await inspiration in order to
create. That is a mistake. I am far from saying that
there is no such thing as inspiration quite the
op- ;

posite. It is found as a force in kind of

driving every
human activity, and is in no wise peculiar to art-
ists. But that force is
only brought into action by an
effort, and that effort is work. Just as appetite comes
by eating, so work brings inspiration, if inspiration

[ 274 ]
 STRAVINSKY
not discernible at the
beginning. But it is not sim-
is

ply inspiration that counts 5 it is the result of inspira-

tion that is, the composition.

At the beginning of my career as a composer I

was a good deal spoiled by the public. Even such
things as were at first received with hostility were
soon afterwards acclaimed. But I have a
very dis-
tinct feeling that in the course of the last fifteen

years written work has estranged me from the

my
great mass of my listeners. They expected something
differentfrom me. Liking the music of UQiseau de
Feu, Petroushka, Le Sacre, and Les Noces and being 7

accustomed to the language of those works they are?

astonished to hear me speaking in another idiom.

They cannot and will not follow me in the progress

of my musical thought. What moves and delights
me leaves them indifferent, and what still continues
to interest them holds no further attraction for me.

For that matter., I believe that there was seldom any

real communion of spirit between us. If it
happened
and it still
happens that we liked the same

things, I very much doubt whether it was for the

same reasons. Yet art postulates communion, and
the artist has an imperative need to make others

[ 275 ]
 STRAVINSKY
share the joy which he experiences himself. But, in

spite of that need ; he prefers direct and frank op-

position to apparent agreement which is based on

misunderstanding.
Unfortunately, perfect communion is rare and ;

the more the personality of the author is revealed

the rarer that communion becomes. The more he

eliminates all that is extraneous, all that is not his

own or "in him/' the greater is his risk of conflict-

ing with the expectations of the bulk of the public,

who always receive a shock when confronted by
something which they are not accustomed.
to

The author's need for communion is all-embrac-

ing, but unfortunately that is only an unattainable
ideal, so that he is compelled to content himself with
something less. In my own case, I find that while
'

the general public no longer gives me the enthusi-

astic reception of earlier days, that does not in any

way prevent a large number of listeners, mainly of

the young generation, from acclaiming my work
with all the old ardor. I wonder whether, after all,
it is
simply a matter of the generation?
very doubtful whether Rimsky-Korsakov
It is

would ever have accepted Le Sacre, or even Pe-

[ 276 ]
 STRA VINSKY
troushka. Is it any wonder, then, that the hyper-
critics of today should "be dumfounded by a lan-

guage in which all the characteristics of their

aesthetic seem to be violated? What, however, is less

justifiable is that they nearly always blame the au-

thor for what is in fact due to their own lack of com-
prehension, a lack made all the more conspicuous
because in their inability to state their grievance

clearly they cautiously try to conceal their incom-

petence in the looseness and vagueness of their

phraseology.
Their attitude certainly cannot make me devi-

ate from my path. I shall assuredly not sacrifice

my predilections and my aspirations to the de-

mands of those who, in their blindness, do not realize

that they are simply asking me to go backwards. It

should be obvious that what they wish for has be-

come obsolete for me, and that I could not follow
them without doing violence to myself. But, on the

other hand, it would be a great mistake to regard me

as an adherent of Zukunftsmusik the music of the

future* Nothing could be more ridiculous. I live

neither in the past nor in the future, I am in the

present. I cannot know what tomorrow will bring

[ 277 ]
 STRAVINSKY
forth. I can know only what the truth is for me to-

day. That is what I am called upon to serve, and I

serve it in all lucidity.

[ 278 ]
 k*W\Wl*VWV

INDEX

Afanasyev, Alexander, 111 Augusta Victoria, Kaiserin,

Albert, Eugen d', 14 66
Alexander III, Tsar, 41 Augusteo Concerts, Rome,
Alfonso XIII, King of 193
Spain, 99, 147, 209 Auric, Georges, 176
Allegra,Edmond, 131
Andersen, Hans Christian, Bach, Johann Sebastian,
35, 79, 102, 250-231 239, 240, 257, 269
Andrese, Volkmar, 198 Baiser de la Fde, Le (S) ,

Ansermet, Ernest, 80, 85- 222, 229-235, 249

86, 91, 92-93, 103, 104, Bakst, Lckm, 56, 67, 91, 103,
105, 108, 110-111, 117- 105, 156
119, 120, 132, 160, 162, Balafcirev, Mill, 9
172-173, 188, 216, 234, Balanchine, Georges, 225
235, 250, 259, 263 Balla, Giacomo, 103
Antigone (Cocteau) , 197 Ballet Russe, 39, 41-42, 45-
Apollo Musagetes (S) 21 1-
, 46,50,51,52,54,56,57,
212, 214, 215, 222-223, 66, 68-69, 72-74, 92-93,
225-227, 229, 231, 248, 94-95, 98, 103, 125, 126,
249 133, 145, 147, 148, 150,
Apr-midi d'un Faune, U 155-156, 162, 193-194,
(Debussy) ,56-57 208, 225-226, 227, 244,
Arensky, Anton, 41 249-250.
Arts Club, Chicago, 191 Balmont, Constantine, 54
Auberjonois, Rene\ 86, 111, Barahau (Rieti) ,
225
117 Bauchant, Andre*, 226
Auer, Leopold, 14, 262 Bayreuth festival, 58-62
Works by Stravinsky are marked (S) ,

[ 279 ]
 INDEX
Beethoven, Ludwig van, 52, Capriccio (S) , 220, 247,
181-186, 187, 238, 257, 250, 251, 258, 259, 263,
269 271, 272
Belaieff Mitrophan, 14, 15,
,
Carmen (Bizet) 18
,

18,37,152 Carnaval (Schumann) 42, ,

Benois, Alexandre, 50, 51, 92

53, 80, 229 Carpenter, John Alden, 191
B&rard, Christian, 197 Carpenter,Rue (Mrs. John
Berceuse (S),101 Alden), 191
Berceuses du Chat (S) , 85, Casella, Alfredo, 77, 88
96,101, 131 Casse Noisette (Tchaikov-
Berlioz, Hector, 153 sky) 230
,

Berners, Lord, 88-89, 105, Cassiodorus, 211

104, 106, 108 Cecchetti, Enrico, 91
Biches, Les (Poulenc) ,
176 Chabrier, Alexis, 17, 28-29,
Bischoff, Henri, 86 174
Bizet, Georges, 17 Chanel, Gabrielle, 145
Bloch, Ernest, 255 Chanson de VOurs (S) , 101
Blumenfeld, Felix, 16, 37 Chansons Plaisantes (Ra-
Bolm, Adolphe, 222 muz -Stravinsky) 85 ,

Boris Godounov (Moussorg- Chant du Rossignol, Le (S) ,

sky) 72 , 126, 132-133, 194

Borodin, Alexander, 9, 13 Chant Funebre (S) 37 ,

Boston Symphony Orches- Chavannes, Fernant, 86

tra, 117, 253 Chopin, Frederic, 38, 257
Bouffon (Chout) (Prokof- Chout., see Bouffon
iev) 147-148
, Cicogna, Count G., 206
Boulanger, Nadia, 190 Cimarosa, Domenico, 173
Brahms, Johannes, 13 Cingria, Alexandre, 86
Braque, Georges, 176 Cingria, Charles Albert, 86,
British Broadcasting Cor- 267-268
poration, 209,219, 249 Cinq Doigts, Les (S) 143 ,

Bruckner, Anton, 1 3 Cinq Pieces Faciles (S), 100

Busoni, Ferruccio, 170 Clark, Edward, 219
Buxtehude, Dietrich, 239 Clementi, Muzio, 180
CUopdtre (Schmitt) , 66-67
Canuedo, Ricciotto, 76 Cloez, Gustave, 234

[ 280 ]
 INDEX
Cocteau, Jean, 105, 145, Dargomijsky, Alexander,
197-198, 201, 207-208 153
Collaer, Paul, 172 Debussy, Claude Achilla,
Colombe, La (Gounod) 1 74 , 27,28,47,55,56,57-58,
Colonne, Judas, 52 63, 76-77, 140-142
Columbia Gramophone Co., Degas, Edgar, 184
235,263 Delage, Maurice, 77
Concertgebouw, Amster- Delibes, Le*o, 17
dam, 188,218 Diaghileff, Serge, 25-26, 58,
Concertino (S) 159 , 39,40, 41,42-44,45,46,
Concerto pour Piano (S) , 48,50,51,53,55-56,58-
163, 168, 177, 178, 179, 59, 65, 64-66, 67, 68, 70,
180, 187-188, 191-192, 71, 72, 75, 74,77,79-80,
193, 198, 220-221, 248, 81, 86-89, 91-95, 94-95,
249, 250, 271 96-97,98, 102,105, 104-
Concerto pour talon (S) , 105, 108, 117, 124-126,
262, 264-267, 269 127, 150, 155, 145, 145,
Congressional Library, 147, 150-151, 153, 155,
Washington, 210 160, 161, 164, 165, 167,
Coolidge, Elizabeth 175, 174-175, 176, 208,
Sprague, 210 209, 222, 225, 226, 245-
Cooper, fimile, 81 247, 249
Coq d'Or, Le (Rimsky- Dieu Bleu, Le (Hahn) 57 ,

Korsakov), 80, 102, 149 Dolin, Anton, 176

Courtauld-Sargent Concerts, Doubrovska, Felia, 225
London, 265-264 Dresdner Lehrergesangsve-
Cui, C(5sar, 9 rein, 247
Czerny, Karl, 178 Dukas, Paul, 28
Duo Art (/Eolian) Co., 215
Dagens Nyheder, Copenha- Duo Concertant (S) , 267,
gen, 199 269
Dani<51ou, Jean, 201 Dushkin, Samuel, 259-262,
Danilova, Alexandra, 225 265, 266, 267, 269, 272
Danses du Prince Igor, Les
(Borodin) 42, 46, 193
, Easy Duets (S) , 146
Daphnis et Chlo& (Ravel), Editions Russes, Les, 199-
57 200

[ 281 ]
 INDEX
Education Manquee, L' Goethe, Johann Wolfgang
(Chabrier), 174, 175 von, 85
Eighth Symphony (Beetho- Goldoni, Carlo, 105
ven) 238
, Goncharova, Natalie, 91,
Errazuris, Mme Eugenia de, 168
98 Good-humored Ladies, The
-
Essipova, Annette, 14 (Scarlatti Tommasini) ,

Euryanthe, 251-252 105, 126,127

Goossens, Eugene, 148, 248
Fdcheux, Les (Auric) ,
1 76
Gounod, Charles, 17, 153,
Fairchild, Blair, 260
174, 175
Falla, Manuel de, 47, 77,
Grillparzer, Franz, 251-252
209-210
Faune et
Bergere (S) ,
54 Hahn, Reynaldo, 57
28
Faure", Gabriel, Halleux, Laurent, 172
Faust (Gounod), 18 Handel, George Frederick,
Feud'Artifice (S) , 36, 103, 269
104, 220 Haydn, Joseph, 180, 269
Fitelberg, Grzegorz, 162 Hindemith, Paul, 169, 264-
Five, the, 9, 13, 16,152 265, 266
Flonzaley Quartet, 139 Histoire d'un Soldat, L (S)
3

Fokine, Michel, 41, 42, 45, 112, 115-117, 118, 120-

46,57,63, 199 122, 125, 126, 131, 167,
Four Russian Songs (S) , 169, 170, 222, 247, 264
124 Hofmann, Josef, 14
Francis of Assisi, St., 196 Huf, Paul, 219
Franck, Cesar, 28
Ice Maiden^ The (Ander-
Freischiitz, Die (Weber) ,

251 sen) , 250-231; also see

Baiser de la Fee, Le
Furtwangler, Wilhelm, 188
Imperial Musical Society,
Gagnebin, filie, 116 Moscow, 14
Gide, Andre, 270-271, 272- Imperial Society for the En-
273 couragement of Art, Mos-
Glazounov, Alexander, 13, cow, 26
15-17, 33, 41, 152 Indy, Vincent d', 28
Glinka, Mikhail, 7-8, 40, International Exhibition,
108, 152, 153, 154 Rome, 51

[ 282 ]
 INDEX
Iturbi, Jose*, 131 Liszt, Franz, 153
Izvestia, Moscow, 182-183 Little House in Kolomna,
The (Pushkin), 153; see
Janacopoulos, Vera, 193, Mavra
209 Litvinne, FSlia, 92
Jeux (Debussy), 63, 76-77
Joergensen, Jolaannes, 196 Machine Infernale, La
Jooss, Kurt, 272 (Cocteau), 197
Jota Aragonaise, La (Glin- Mackay, Clarence H., 189
ka) ,
108 Madrid (S), 109
Mainz Liedertafel, 266
Karsavina, Thamar, 41, 45, Maison,Ren, 273
55 Mallarme", Stphane, 184
Khovanstchina (Moussorg- Maria Christina, Dowager
sky), 70, 71 Queen of Spain, 99, 147
Klemperer, Otto, 198-199, Massine, Leonide, 91, 92,
209,217,223-224,249 103, 105, 126, 127, 130,
Kochno, Boris, 154-155. 133-134, 143-144, 194
Korovine, Constantine, 247 Masson, Louis, 173
Koussevitzky, Serge, 28, Matisse, Henri, 126
123, 148, 150, 171, 177, Mavra (S) 153-154, 158,
,

178, 179, 191, 199, 253, 160, 161-162, 163, 172,

259 217,222
Koussevitzky, Mme Serge, Midecin Malgrd Lui, Le
199 (Gounod), 174
Mtdecin Malgrd Lui, Le
Lac des Cygnes, Le (Tchai- (Moliire) 229 ,

kovsky) 40, 230

, Mengelberg, Willem, 188,
Larkmov, Mikhail, 91, 161 191
Laurencin, Marie, 176 Menter, Sophie, 14
League of Composers, New Milhaud, Darius, 176
u
York, 222 Mir Iskoustva ( The World
Leschetitzky, Theodor, 14 of Art") , 25-26
Liadov, Anatol, 16, 27 Mitoussov, Stepan, 25, 35
Lifar, Serge, 226 Molifcre, Jean-Baptiste de,
Life for the Tsar, A 229
(Glinka) 7 , Molinari, Bernardino, 195

[ 285 ]
 INDEX
Monteux, Pierre, 52, 72, 80, Octuor pour Instruments a
117,216 Vent (S), 162-165, 170-
Montjoie, Paris, 76 171, 172, 180,248
Moodie, Alma, 198 Oeberg, Ernest, 199
Mora, Jean, 86 CEdipus Rex (S) 168, 198, ,

Mora, Rene, 86 20J-202, 206-209, 217,

Moussorgsky, Modest, 9, 15, 218-219, 220, 221, 222,
70-72 247, 271
Oiseau de Feu, L (S) 59,
9

Mozart, Wolfgang Ama- ,

deus, 180, 186,269 42, 44-46, 47, 54, 66, 67,

68, 72, 92, 95, 99, 105,
Napoleon I, Emperor of the 104, 125, 214, 220, 221,
French, 184 275
Napoleon III, Emperor of Onnou, Alphonse, 172
the French, 174 Orchestre de la Suisse Ro-
Napravnik, Eduard, 14-15 mande, Geneva, 152
Nemtchinova, Vera, 176 Orchestre Symphonique de
New York Philharmonic Or- Paris, 255
chestra, 189, 191
Nicholas I, Tsar, 112 Paitchadze", Gabriel, 200
Nicholas II, Tsar, 105 Pan Voivoda (Rimsky-Kor-
Nijinska, Bronislava, 160, sakov), 51
161, 165, 176, 252-255, Parade (Satie) , 58, 145-146
254, 245 Parny, fivariste, Vicomte
Nijinsky, Vaslav, 41, 42-45, de, 54
55, 55-57, 62-66, 75-75, Parsifal (Wagner) , 58-60
94-95, 145 Pasini, Laura, 205
Nikitina, Alice, 225 Pastorale (S) 55 ,

Noces, Les (S) , 85, 86, 90, Pathetic Symphony (Tchai-

92, 95, 105, 108, 164- kovsky) , 9
168, 171, 180, 221, 222, Pavlova, Anna, 41, 45
225,254,271,275 PelUas et Mdlisande (De-
Nocturne (Chopin) 58 , bussy) ,
58
Nouvel, Walter, 26 Pergolesi, Giovanni, 126-
Novice, La (S) 55 , 128, 150
Nuit a Madrid, Une Persephone (Gide) , 220,
(Glinka), 108 222, 270-271, 272-275

[ 284 ]
 INDEX
Peter I, Tsar, 50, 151 Porta, Jose", 151
Petipa, Marius, 41, 155 Poulenc, Francis, 176
Petrarch (C. A. Cingria) , Praetorius, Michael, 250
267 Pr6vost, Germain, 172
Pctroushka (S) , 47, 48-50, Pribaoutki (S) 85, 96, 101,
,

51,55-54,58,66,68,69, 151
80, 99, 104, 147, 199, Pro Arte Quartet, 1 72
202, 205-206, 217, 221, Pro Arte Society, 1 72
222, 275, 276-277 Prokofiev, Serge, 89, 147,
Petroushka (piano arrange- 245
ment) see Three Move-
, Pulcinella (S) 127, 129-
,

ments from Pctroushka 151, 155-154, 172, 194,

Philadelphia Orchestra, 198,221, 264
191-192 Pushkin, Alexander, 54,
PhiUmon Baucis ct 151, 152, 155, 154
(Gounod) 1 74 ,

Quatre &tudes pour Orches-

Philipp, Isidore, 190
tre (S), 109
Piano Rag Music (S) , 129,
151 Racz, Aladar, 95
Picasso, Pablo, 105, 105- Ragtime (S), 125, 129, 151,
106, 127, 150, 155-154, 195
145 Harrmz, Charles Ferdinand,
Piern<, Gabriel, 46 85, 86, 100, 107, 108,
Pierrot Lunaire (Sclion- 110-112, 124
berg) , 67 Ravel, Maurice, 47, 57, 71,
Pique Dame (Tchaikov- 72, 77, 214
sky) , 250 Reiner, Fritz, 191-192
Pitoeff, George, 116 Reinhart, Werner, 1 1 1, 122,
Pitoeff, Ludmila, 116 151, 198
Pleyel's, 158-159, 160, 214, Reisenauer, Alfred, 14
215 Renard (S) , 90, 94, 95, 96,
Pochon, Alfred, 159 100, 101, 160-161, 221,
Pofemes de Mallarm^ (Ra- 245
vel) ,
72 Retablo de Maese Pedro, El
Pokrovsky, Ivan, 17, 18, 26 (de Falla) 209 ,

Polignac, Princess Edmond Revue Musicale, Paris, 140

de,94, 160, 168, 178,208 Richter, Hans, 15

[ 285 ]
 INDEX
Rieti, Vittorio, 225 Sargent, Harold Malcolm
Rimsky-Korsakov, Nikolai Watts, 263
Satie, Erik, 58, 88,145-146
Andreyevitch, 6-7, 8, 9,

13, 15-17, 19, 22-25,27, Scarlatti,Domenico, 126

50-53, 34, 35-36, 37, 58, Schalk, Franz, 218
Scheherazade (Rimsky-
40, 70, 71, 72, 80, 92,
152,276 Korsakov) 195,

Scherzo Fantastique (S) 55

Roerich, Nicholas, 48, 55 ,

Romanov, Boris, 63, 206 Schmitt, Florent, 47, 65, 77

Rosee, Sainte (S) 35,

Schonberg, Arnold, 67
Schott Sohne, Mainz, 249
Rossel, Gabriel, 116
Schubert, Franz, 52, 252-
Rossignol, Le (S) 25, 35,
,
255
38, 78-80, 81, 102, 202-
Schumann, Robert, 155
203, 205, 218, 222
Scriabine, Alexander, 252-
Rousseau, Henri Julien (le
255
douanier) , 226
Secret Mariage, Le (Cima-
Rubinstein, Anton, 16, 19
rosa), 174
Rubinstein, Arthur, 129
Serenade en LA (S) ,194-
Rubinstein, Ida, 229, 231,
195, 248
234, 270, 273
Serov, Alexander, 8
Rundfunk (Radio) Berlin,
Serov, Valentine, 51
,

217, 266 Alexander, 28, 57

Siloti,
Ruslan and Ludmilla
Siohan, Robert, 272
(Glinka) 8, 40
Sleeping Beauty, The
,

Russian Symphony Con-

(Tchaikovsky), 41, 150-
certs, Leningrad, 14, 15, 151, 155-157, 230
37
Smallens, Alexander, 222
Snegourotchka (Rimsky-
Sacre du Print emps, Le (S) ,
Korsakov) 92,

47-48, 49, 54, 55, 57, 58, Societa de' Ente Concert!
62, 63-64, 66, 69, 72-76, Orchestrali, Milan, 206
80, 141, 143-145, 147, Soci&te" des Nouveaux Con-
148, 149, 202, 215-216, certs, 171-172
218, 222, 249, 275, 276 Societe" Internationale pour
Sadoven, Helene, 218-219 la Musique Contempo-
Salome (Schmitt), 63 raine, 196

[ 286 ]
 INDEX
Socie'te'Philharmonique de Tchaikovsky, Piotr Ilyitch,
Paris, 247 9, 10, 13, 17, 33, 40-41,
S aerate (Satie) 58 , 150, 152, 153, 154, 155,
Soirees of
Contemporary 229,230,231,268-269
Music, Moscow, 26, 28, Tcherepnin, Nikolai Niko-
35 laievitch, 16, 41
Sokolov, Nikolai A., 16 Tchernichova, Lubov, 225
Sokolova, Lydia, 144 Tenicheva, Princess, 55
Soldi de Minuit) Le (Blm- Thoran, Cornell de, 234
sky-Korsakov) 92 ,
Three Movements from
Sonate (S) 168, 180-181,
, Petroushka (S) 154 ,

196,248,254 Tilim-Bum (S) ,

101
Souvenirs de mon Enfance Tommasini, Vincenzo, 105
(S),78 Toscanini, Arturo, 202-205
Souvenirs sur Igor Stravin- Train Bleu, Le (Milhaud) ,

sky (Ramuz) 86 ,
176
State Choral Society, Lenin- Tristan und Isolde (Wag-
grad, 221 ner) , 69, 175
Stock, Frederick, 191 Triumph of Neptune, The
Stokowski, Leopold, 192 (Lord Berners) 89 ,

Strauss, Richard, 67 Troi$ Petites Pieces pour

Stravinsky, Mme Igor, 53, Quatuor a Cordes (S) ,

87, 246 172

Stravinsky, Sviatoslav, 271 Trois Pieces Faciles (S) , 88,
Strecker, Willy, 249, 259- 100
260,261 Tulder, Louis van, 219
Strozzi-Pecic, Maja de, 124 Turin Radio Orchestra, 270
Suter, Hermann, 198
Sylphides, Les (Chopin) , 38 Unaufhorliche, Das (Hinde-
Symphonic des Psaumes mith) 266
,

(S), 253-257, 258, 259,

263, 270 Val^ry, Paul, 184
Symphonies pour Instru- false (Ravel), 21 4
ments a Vent (S), 140- false Brillante (Chopin) ,

142, 148, 163, 172 38

Symphony, E flat (S) ,
32- Verdi, Giuseppe, 205
33, 34 Verlaine, Paul, 48, 271

C 287 ]
 INDEX
Victoria Ena, Queen of Weber, Carl Maria von,
Spain, 99, 147 251-252
Villard, Jean, 116 Wiener, Jean, 172, 178
Volga Boat Song (S) ,
104 Wilhelm II, Kaiser, 66-67
Vsevolojsky, Ivan, 40-41 Woizikovsky, Leon, 176
Wood, Sir Henry, 220
Wagner, Richard, 15, 15,
19,53,60 Zvezdoliki ("The King of
Wahrlich, H., 34 the Stars") (S) , 55, 141
Walter, Bruno, 220-221

[ 288 ]
A FEW PHOTOGRAPHS

AND PORTRAITS OF

IGOR STRAVINSKY
 :

IGOR STRAVINSKY
by THEODORE STRAVINSKY
 n*

fU %AMU>

Y^4t***\
t^^\ (pj
P& l&yfH*
/

C.-F. RAMUZ
sketch by IGOB STRAVINSKY
IGOR STRAVINSKY and PICASSO
sketch by JEAN COCIEAU

A tribute by PiCASSO apropos of Pulcinella

STRAVINSKY
by PICASSO
STRAVINSKY'S HANDS

photo by ERIK SCHAAL

112789