• Name: Igor Stravinsky
• Birthday: 06/17/1882
• Birth Place: Orianenbaum, Russia
• Died: 04/06/1971
• Place of Death: United States
• Period: Modern
• Genre: Classical

Title	Release
Octet to Orpheus: The Neo-Classical Stravinsky	2008
Stravinsky Conducts Stravinsky: Concert Performances 1951-1957	2008
Stravinsky: The Soldier's Tale	2007
Works of Igor Stravinsky [Box Set] WA	2007
Masters of the Piano Roll: Stravinsky	2004
Igor Stravinsky: Composer & Performer, Vol. 3	2003
Stravinsky: Composer & Performer 1930-1950, Vol. 2	2003
Igor Stravinsky: Composer & Conductor, Vol. 1 WA	2002
Stravinsky & Prokofiev Conduct Their Works	2000
Stravinsky Conducts Stravinsky [SACD] WA	1999
Stravinsky in Moscow, 1962	1996
Igor Stravinsky: Symphonies	1991
Igor Stravinsky: The Recorded Legacy [Box Set] WA	1991
Stravinsky: Ballet Suites	1991
Stravinsky: Ballets, Vol. 1	1991
Stravinsky: Ballets, Vol. 2	1991
Stravinsky: Chamber Music & Historical Recordings	1991
Stravinsky: Concertos	1991
Stravinsky: Miniature Masterpieces	1991
Stravinsky: Operas	1991
Stravinsky: Oratorio - Melodrama	1991
Stravinsky: Apollo; Jeu de cartes	1989
Stravinsky: Le sacre du printemps; Petrushka WA	1988
Stravinsky: Symphony of Psalms; Symphony in C; Symphony in Three Movements WA	1988
Chanson Russe	1981
Igor Stravinsky: The Rite Of Spring; The Firebird
Stravinsky Conducts Stravinsky
Stravinsky: L'Oiseau de feu; Apollon Musagète
Stravinsky: Oedipus Rex; Le Rossignol
Stravinsky: Perséphone
Stravinsky: Rite Of Spring; Petrushka
Stravinsky: The Firebird; Scherzo a la Russe; Fireworks
Stravinsky: The Rake's Progress
(24) Agon, ballet for 12 dancers & orchestra	1958
(65) Apollon musagète, ballet in 2 scenes for string orchestra	1958
(36) Concerto for chamber orchestra in E flat major ("Dumbarton Oaks")	1991
(42) Concerto in D, for string orchestra in D major ("Basel Concerto")	1989
(59) L'histoire du soldat (The Soldier's Tale), concert suite for 7 instruments
(136) L'oiseau de feu (The Firebird), ballet in 2 scenes for orchestra
(169) L'oiseau de feu (The Firebird), concert suite for orchestra No. 2	1935
(328) Le Sacre du printemps (The Rite of Spring), ballet in 2 parts for orchestra WA
(63) Pulcinella, suite for orchestra
(24) Symphonies of Wind Instruments, for 23 wind instruments (1947 version)	1961
(60) Symphony of Psalms, for chorus & orchestra	1931
(15) Ode, elegiacal chant for orchestra WA	1996
(7) A Sermon, a Narrative & a Prayer, cantata for 2 vocal soloists, reciter, chorus & orchestra WA	1962
(5) Songs (4) for voice, flute, harp & guitar WA	1965
(10) King of the Stars (Zvezdoliki), cantata for male chorus & orchestra WA	1962
(2) Les Noces II (The Wedding), ballet in 2 tableaux for vocal soloists, chorus, 2 cimbaloms, 2 pianolas & percussion
La Marseillaise, transcription for violin solo (after Rouget de Lisle)	1998
(15) Le Rossignol, opera (lyric tale) in 3 acts	1997
The Mushrooms Going to War, song for voice & piano	1998
(6) The Flood, musical play for 3 vocal soloists, narrator, caller, speakers, chorus & orchestra	1998
(11) In Memoriam Dylan Thomas, dirge-canons & song for voice, string quartet & 4 trombones
(2) L'histoire du soldat (The Soldier's Tale), for piano (reduction)	1993
(11) Requiem Canticles, for 2 vocal soloists, chorus & orchestra	1991
(8) Abraham and Isaac, sacred ballad for voice & chamber orchestra
(14) Anthem: The Dove Descending Breaks the Air, for chorus WA	1994
(3) Sacræ Cantiones (3), for chorus (after Gesualdo) WA	1994
(3) The Star-Spangled Banner, transcription for orchestra (after John Stafford Smith) WA	1996
(7) Monumentum pro Gesualdo di Venosa ad CD annum, for orchestra
(13) Norwegian Moods (4), for orchestra	1991
(25) Pater Noster, for chorus WA	1994
(10) Songs (3) from William Shakespeare, for voice, flute, clarinet & viola
(6) Fragment des Symphonies pour instruments à vent à mémoire de Claude Achille Debussy, for piano	1996
(3) Pastorale, transcribed for orchestra by Leopold Stokowski	1969
(6) Threni: id est Lamentationes Jerimiæ Prophetæ, for 6 vocal soloists, chorus & orchestra	1958
(39) Oedipus Rex, opera-oratorio in 2 acts	1993
Agon, ballet for 12 dancers & 2 pianos (reduction)	2004
Allegro brillante, for piano (Four Etudes No. 2), Op. 7/2	1946
Andantino, for piano (Four Etudes No. 3), Op. 7/3	1960
(28) Ave Maria, for chorus a cappella (after Bogoroditse D'vo)
(11) Babel, cantata for reciter, male chorus & orchestra (for collaborative cantata "Genesis Suite")	1992
(4) Ballad, for violin & piano (from The Fairy's Kiss, transcibed by Stravinsky & Jeanne Gautier)
(11) Berceuse, for violin & piano (after L'Oiseau de Feu, transcribed by Stravinsky & Dushkin)	1938
(4) Berceuse, for violin & piano (after L'Oiseau de Feu, transcribed by Stravinsky)	1933
(3) Berceuse, song for voice & piano	1993
(12) Berceuses du Chat (4), song cycle for voice & 3 clarinets or piano	1965
(4) Bluebird Pas-de-deux, transcription for chamber orchestra (after Tchaikovsky: Sleeping Beauty)	1984
(8) Bogoroditse D'vo, for chorus
(3) Canon on a Russian popular tune, for orchestra
(14) Cantata, for 2 soloists, female chorus & chamber orchestra
(10) Canticum Sacrum ad honorem Sancti Marci nominis, cantata for 2 soloists, chorus & orchestra

Igor Stravinsky was one of music's truly epochal innovators; no other composer of the twentieth century exerted such a pervasive influence or dominated his art in the way that Stravinsky did during his five-decade musical career. Aside from purely technical considerations such as rhythm and harmony, the most important hallmark of Stravinsky's style is, indeed, its changing face. Emerging from the spirit of late Russian nationalism and ending his career with a thorny, individual language steeped in twelve-tone principles, Stravinsky assumed a number of aesthetic guises throughout the course of his development while always retaining a distinctive, essential identity.

Although he was the son of one of the Mariinsky Theater's principal basses and a talented amateur pianist, Stravinsky had no more musical training than that of any other Russian upper-class child. He entered law school, but also began private composition and orchestration studies with Nicolai Rimsky-Korsakov. By 1909, the orchestral works Scherzo fantastique and Fireworks had impressed Sergei Diaghilev enough for him to ask Stravinsky to orchestrate, and subsequently compose, ballets for his company. Stravinsky's triad of early ballets -- The Firebird (1909-1910), Petrushka (1910-1911), and most importantly, The Rite of Spring (1911-1913) -- did more to establish his reputation than any of his other works; indeed, the riot which followed the premiere of The Rite is one of the most notorious events in music history.

Stravinsky and his family spent the war years in Switzerland, returning to France in 1920. His jazz -inflected essays of the 1910s and 1920s -- notably, Ragtime (1918) and The Soldier's Tale (1918) -- gave way to one of the composer's most influential aesthetic turns. The neo-classical tautness of works as diverse as the ballet Pulcinella (1919-1920), the Symphony of Psalms (1930) and, decades later, the opera The Rake's Progress (1948-1951) made a widespread impact and had an especial influence upon the fledgling school of American composers that looked to Stravinsky as its primary model. He had begun touring as a conductor and pianist, generally performing his own works. In the 1930s, he toured the Americas and wrote several pieces fulfilling American commissions, including the Concerto in E flat, "Dumbarton Oaks."

After the deaths of his daughter, his wife, and his mother within a period of less than a year, Stravinsky emmigrated to America, settling in California with his second wife in 1940. His works between 1940 and 1950 show a mixture of styles, but still seem centered on Russian or French traditions. Stravinsky's cultural perspective was changed after Robert Craft became his musical assistant, handling rehearsals for Stravinsky, traveling with him, and later, co-authoring his memoirs. Craft is credited with helping Stravinsky accept 12-tone composition as one of the tools of his trade. Characteristically, though, he made novel use of such principles in his own music, producing works in a highly original vein: Movements (1958-1959) for piano and orchestra, Variations: Aldous Huxley in Memoriam (1963), and the Requiem Canticles (1965-1966) are among the most striking. Craft prepared the musicians for the exemplary series of Columbia Records LPs Stravinsky conducted through the stereo era, covering virtually all his significant works. Despite declining health in his last years, Stravinsky continued to compose until just before his death in April 1971. ~ All Music Guide, All Music Guide