If you listened to my show last week about Stravinsky’s ballet The Firebird, you know that Stravinsky’s life was never the same after the premiere of the ballet in 1910. Sergei Diaghilev, the founder of the Ballets Russes and Stravinsky’s greatest collaborator, said just before the premiere, “this man is on the eve of celebrity.” Diaghilev was absolutely right, as The Firebird made Stravinsky a Parisian household name practically overnight. Of course, immediately everyone wanted to know what was next. Stravinsky did too, and he was thinking that he needed to stretch himself even more, as even though the Firebird had caused a sensation, he still felt that it was too indebted to his teachers of the past like Nikolai Rimsky Korsakov and other Russian greats like Borodin or Mussorgsky. At first, Stravinsky dreamed of a pagan Rite, but quickly he changed course, wanting to write something that was NOT ballet music, and in fact would be a concerto for Piano and Orchestra. But instead of just a straight ahead abstract piece, Stravinsky had yet another story in mind. This time it was this: “In composing the music, I had in mind a distinct picture of a puppet, suddenly endowed with life, exasperating the patience of the orchestra with diabolical cascades of arpeggios. 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.”

Diaghilev visited Stravinsky in Lausanne Switzerland expecting to hear more about the pagan rituals Stravinsky had been so excited about, but instead Stravinsky played him this strange piano concerto. But Digahliev, ever the visionary, saw the potential in this story and in this music for dance as well, and convinced Stravinsky to turn the piano concerto into a ballet, and Petrushka was born. Within a few months, Petrushka was written, performed, and was yet another sensation. Today, we’ll talk all about the brilliant music that Stravinsky composed for the ballet, the integration of choreography and music, and the radical changes that this music heralded for the western music world.