Three colorful works of his young manhood--"L' Oiseau de Feu" ("The Firebird"), "Petrushka" and "Le Sacre du Printemps" ("The Rite of Spring")--were generally admitted to be masterpieces.
But about his conversion to the austerities of neoclassicism in the nineteen-twenties, and his even more startling conversion to a cryptic serial style in the nineteen-fifties, there was critical disagreement.
The New York City Opera dedicated last night's performance of "Don Rodrigo" to the composer.
With Stravinsky at his bedside were his wife, Vera; his musical assistant and close friend, Robert Craft; Lillian Libman, his personal manager, and his nurse, Rita Christiansen. Craft, according to Miss Libman, was too shaken by the death to speak to callers, but wished it known that he had "lost the dearest friend he ever had." Mr.
To some, his later works were thin and bloodless; to others, they showed a mastery only hinted at in the vivid early pieces.
He has left us the treasures of his genius, which will live with us forever.In 1965 the American Musicological Society voted Stravinsky the composer born after 1870 who was most likely to be honored in the future.He was not unanimously honored during his lifetime.Craft, who had been Arnold Schoenberg's secretary before that composer's death, went to work for Stravinsky in 1947.The composer had returned in August, "much refreshed," after a vacation of two and a half months at Evian, France, Miss Libman said, but had entered Lenox Hill Hospital here with pulmonary edema on March 18.