To begin his new neo-classical period, Igor Stravinsky (1882-1971) took a story by Alexander Pushkin and had Boris Kochno, Serge Diaghilev’s personal secretary, create a libretto for a little one-act comic opera. In Pushkin’s poem, a widowed mother and her

Music takes a whole new meaning when seen in writing; when taken its soul away, and when left to simple ink on paper. Out of their physical contexts, musical ideas are perceived differently. This separation of physical and spiritual allows

Stravinsky’s ballet Le baiser de la fée gives us the life of a child fated to a bad end by a desirous fairy. Composed in 1928 for Diaghilev and created for the prima ballerina Ida Rubinstein, the ballet tells of

Igor Stravinsky had a vast appetite for literature. That appetite basically reflected his constant desire for learning, exploring, and for making new discoveries. Forced into exile by World War I, Stravinsky initially found inspiration in Russian folklore. A collection of

Igor Stravinsky first met Katherine Gavrylivna Nosenko in 1890. He was quietly drawn to “Katya,” who was by all accounts a soft-spoken and intelligent girl. They shared a number of interests, and found common ground in music, as Katya was

“My music is best understood by children and animals” Igor Stravinsky (1882-1971) graced the cover of Time Magazine in 1948. The supporting article described him as a “Master Mechanic,” a man to be hired, on his terms, to write music

Sergei Diaghilev’s Ballets Russes hit Europe like a storm: no one had ever seen ballet taken to this level. Founded in 1909 by Diaghilev and lasting 20 years, the Ballet was based in Paris and traveled around Europe and to

Artists are taught tradition in order to innovate. While there are some discussions about tradition and innovation, they are both essential to the wellbeing of art, to progress and continuity. I like to think that one looks at the past,