The Capriccio for Piano and Orchestra was written by Igor Stravinsky in Nice between 1926 and 1929. The score was revised in 1949. Stravinsky designed the Capriccio to be a virtuosic vehicle which would allow him to earn a living from playing the piano part. The Capriccio, together with the Concerto for Piano and Wind Instruments, belonged to a catalogue of breadwinning pieces which Stravinsky composed to support himself after fleeing the Russian Revolution to live in Western Europe.

The Concerto for Piano and Wind Instruments was written by Igor Stravinsky in Paris in 1923–24. This work was revised in 1950. It was composed four years after the Symphonies of Wind Instruments, which he wrote upon his arrival in Paris after his stay in Switzerland. These two compositions are from Stravinsky's neoclassical period, and represent a departure from the composer's previous Russian style, in which he produced works such as The Rite of Spring. This concerto numbers among many works for piano written about the same time to be played by the composer himself. This is also true of Capriccio for Piano and Orchestra (1929), his Sonata of 1924 and his Serenade in A (1925). He kept the performance rights to himself for a number of years, wanting the engagements for playing this work for himself, as well as urgently desiring to keep "incompetent or Romantic hands" from "interpreting" the piece before undiscriminating audiences.

Igor Stravinsky's Concerto in D ("Basle") for string orchestra was composed in Hollywood between the beginning of 1946 and 8 August of the same year in response to a 1946 commission from Paul Sacher to celebrate the 20th anniversary of the Basler Kammerorchester  (BKO—in English, Basel Chamber Orchestra), and for this reason is sometimes referred to as the "Basle" Concerto. It was premiered on 27 January 1947 in Basel by the BKO, conducted by Paul Sacher. Other sources say it was six days earlier, on the day of the orchestra's 20th anniversary, 21 January, when two other works commissioned by Sacher were also premiered: Arthur Honegger's Symphony No. 4 Deliciae Basiliensis and Bohuslav Martinů's Toccata e due Canzoni. The Concerto in D was the first composition Stravinsky created after becoming a naturalised American citizen on 28 December 1945 and the first of his works to be published under the contract with his new publisher, Boosey & Hawkes. The concerto has been choreographed several times as a ballet, first by Dore Hoyer at the Hamburg State Opera in 1950. Later ballet versions were made by Jerome Robbins, under the title of The Cage in 1951, by Werner Ulbrich, as Attis und die Nymphe at the Württembergisches Staatstheater, Stuttgart, in 1959 and by Aimé De Lignière at the Royal Ballet of Flanders, as Acht in 1973.

Concerto in E♭, inscribed Dumbarton Oaks, 8.v.38 (1937–38) is a chamber concerto by Igor Stravinsky, named for the Dumbarton Oaks estate of Robert Woods Bliss and Mildred Barnes Bliss in Washington, D.C., who commissioned it for their thirtieth wedding anniversary. The commission had been brokered by Nadia Boulanger. She also conducted the May 8, 1938, private premiere in the music room at Dumbarton Oaks, while the composer was hospitalized with tuberculosis. The public premiere took place in Paris on June 4, 1938, at a concert of La Sérénade, with Stravinsky conducting. The full-score manuscript, formerly owned by Mr. and Mrs. Robert Woods Bliss, is in the Harvard University Rare Book Collection of the Dumbarton Oaks Research Library, Washington, D.C.

Danses concertantes is a work for chamber orchestra by Igor Stravinsky, composed in 1942. A performance lasts about twenty minutes. Although written as an abstract ballet for concert performance, it has been choreographed numerous times.

Igor Stravinsky was a Russian composer, pianist, and conductor known for being one of the most important and influential figures in twentieth-century classical music. His unique approach to rhythm, instrumentation, and tonality made him a pivotal figure in modernist music. Stravinsky studied composition under composer Nikolai Rimsky-Korsakov from 1902 to 1908, Stravinsky's Feu d'artifice being his last piece composed under Rimsky-Korsakov. During this time, Stravinsky completed his first full composition, the Symphony in E-flat major, catalogued Op. 1. Attending the premiere of Stravinsky's Scherzo fantastique and Feu d'artifice in 1909 was the Russian impresario Sergei Diaghilev, owner of the Ballets Russes ballet company. Diaghilev was impressed enough that he commissioned Stravinsky to write some arrangements for the 1909 ballet season. In the following years, Diaghilev commissioned Stravinsky to write three ballets: The Firebird (1910), Petrushka (1911), and The Rite of Spring (1913). These ballets remain Stravinsky's most famous works today. Stravinsky's music is typically divided into three style periods: the Russian period (c. 1907–1919), the neoclassical period (c. 1920–1954), and the serial period (1954–1968). Stravinsky's Russian period is characterized by the use of Russian folk tunes and the influence of Rimsky-Korsakov, Tchaikovsky, Glazunov, and Taneyev. His neoclassical period reflected back to the techniques and themes of the Classical period, like his use of the sonata form in the first movement of his Octet (1923) and the Greek mythological themes in Apollo (1928), Perséphone (1933), and Orpheus (1947). His serial period began with using Schoenberg's twelve-tone technique dodecaphony in Agon (1954–57), later experimenting with non-twelve-tone techniques in his Cantata (1952) and Septet (1953).

Ebony Concerto is a musical composition by Igor Stravinsky, commissioned by jazz musician Woody Herman and completed on December 1, 1945. It is one in a series of compositions requested by Herman for solo clarinetist and jazz ensemble and the score is dedicated to Herman. The composition was first performed on March 25, 1946, in Carnegie Hall in New York City, by Woody Herman's Band, conducted by Walter Hendl.

Feu d'artifice, Op. 4 (Russian: Фейерверк, romanized: Feyerverk, lit. 'Fireworks') is a composition by Igor Stravinsky, written in 1908 and described by the composer as a "short orchestral fantasy". It usually takes less than four minutes to perform.

"Funeral Song", Op.5, is a composition written in 1908 by Igor Stravinsky. Funeral Song may also refer to: "Funeral Song", a 2013 song by Fast Romantics "Funeral Song", a song by Sleater-Kinney from the 2002 album One Beat "Funeral Song", a song by The Rasmus from the 2003 album Dead Letters "Funeral Song", a traditional Solomon Islands composition, featured on Spirit of Melanesia by David Fanshawe, sampled by Björk in her 2012 song "Mutual Core" "Parachutes (Funeral Song)", a song by Mates of State from the 2003 album Team Boo

The Greeting Prelude is an orchestral work composed in 1955 by Igor Stravinsky. Its origins can be traced back to an incident that occurred during a rehearsal at the inaugural Aspen Festival in 1950, when Stravinsky was displeased by a surprise rendition of "Happy Birthday to You", a song with which he was unfamiliar. The next year, at the request of Samuel Barber, he harmonized it and composed a two-part canon as a birthday present for Mary Louise Curtis. In February 1955, Charles Munch, music director of the Boston Symphony Orchestra, contacted Stravinsky with a request for a brief orchestral tribute for Pierre Monteux's 80th birthday. After initially expressing uncertainty that he could accept the commission, he composed Greeting Prelude between February 18 and 23. Its world premiere performance took place at Symphony Hall, Boston, on April 4, 1955, with the Boston Symphony Orchestra conducted by Munch, as part of a program shared with Monteux. Immediate reactions to the brief work, which treats the "Happy Birthday" theme serially within a diatonic harmonic context, were positive. Leonard Bernstein and Colin Davis conducted the Greeting Prelude in 1962 in tribute to Stravinsky's 80th birthday that year; the former on the CBS television series Young People's Concerts, in an episode devoted to the composer. Cyrus Durgin of the Boston Globe described the Greeting Prelude as "a kind of perpetual motion which has no conclusion". Musicologist Eric Walter White called it a "jovial, aphoristic work, but rather too short to make much effect". Stravinsky himself said that it was a "very learned prelude" and "a kind of singing telegram".

Chant du Rossignol (English: Song of the Nightingale), as it was published in 1921, is a poème symphonique by Igor Stravinsky adapted in 1917 from his 1914 opera The Nightingale.

Monumentum pro Gesualdo is a 1960 arrangement and recomposition by Igor Stravinsky of three madrigals by Carlo Gesualdo: 1. Asciugate i begli occhi (Book 5, XIV); 2. Ma tu, cagion di quella (Book 5, XVIII); 3. Beltà poi che t'assenti (Book 6, II). It was composed to commemorate the 400th anniversary of Gesualdo's birth and was intended to complement Stravinsky's similar Tres Sacrae Cantiones. It was premiered on September 27, 1960, at the Venice Biennale, played by the Orchestra del Teatro la Fenice conducted by Stravinsky. It was later choreographed by the New York City Ballet (NYCB) co-founder and balletmaster George Balanchine. The premiere took place on Wednesday, November 16, 1960, at City Center of Music and Drama, New York, with scenery and lighting by David Hays (new lighting by Ronald Bates in 1974) and was conducted by Robert Irving. It was first performed in conjunction with Balanchine's choreographic interpretation of Movements for Piano and Orchestra in 1963 and was regularly performed in this pairing thereafter.

Movements for Piano and Orchestra is a neoclassical ballet choreographed by George Balanchine to Stravinsky's score of the same name. The ballet premiered on April 9, 1963, at City Center of Music and Drama, performed by the New York City Ballet. Though the two lead roles were created for Diana Adams and Jacques d'Amboise, seventeen-year-old Suzanne Farrell danced the female lead at the premiere due to Adams' pregnancy. Starting in 1966, Movements and Monumentum pro Gesualdo (1960) are performed together.

Ode: Elegiacal Chant in Three Parts (in memory of Natalie Koussevitzky) is an orchestral work from 1943 composed by Igor Stravinsky. Prior to its completion, the score's working title had been Triads.

Retrograde inversion is the practice of flipping and reversing a musical passage. Used throughout music history, the technique gained prominence in the 20th century through the work of the Second Viennese School.

Scherzo à la russe is a composition by Russian expatriate composer Igor Stravinsky. It was initially published by Chappell & Co. in 1945 and premiered in March 1946 by the San Francisco Symphony Orchestra, conducted by the composer himself. It was later published by Boosey & Hawkes.

Scherzo, sometimes also referred to as Scherzo in G minor, is one of Igor Stravinsky's earliest works for piano. It was composed in 1902.

The "Song of the Volga Boatmen" (known in Russian as Эй, ухнем! [Ey, ukhnyem!, "Yo, heave-ho!"], after the refrain) is a well-known traditional Russian song collected by Mily Balakirev and published in his book of folk songs in 1866. It was sung by burlaks, or barge-haulers, on the Volga River. Balakirev published it with only one verse (the first). The other two verses were added at a later date. Ilya Repin's famous painting Barge Haulers on the Volga depicts such burlaks in Tsarist Russia toiling along the Volga. The song was popularized by Feodor Chaliapin, and has been a favorite concert piece of bass singers ever since. Bill Finegan's jazz arrangement for the Glenn Miller band took the song to No. 1 in the US charts in 1941. Russian composer Alexander Glazunov based one of the themes of his symphonic poem "Stenka Razin" on the song. Spanish composer Manuel de Falla wrote an arrangement of the song, which was published under the name Canto de los remeros del Volga (del cancionero musical ruso) in 1922. He did so at the behest of diplomat Ricardo Baeza, who was working with the League of Nations to provide financial relief for the more than two million Russian refugees who had been displaced and imprisoned during World War I. All proceeds from the song's publication were donated to this effort. Igor Stravinsky made an arrangement for orchestra.

The Firebird (French: L'Oiseau de feu; Russian: Жар-птица, romanized: Zhar-ptitsa) is a ballet and orchestral concert work by the Russian composer Igor Stravinsky. It was written for the 1910 Paris season of Sergei Diaghilev's Ballets Russes company; the original choreography was by Michel Fokine, who collaborated with Alexandre Benois and others on a scenario based on the Russian fairy tales of the Firebird and the blessing and curse it possesses for its owner. It was first performed at the Opéra de Paris on 25 June 1910 and was an immediate success, catapulting Stravinsky to international fame and leading to future Diaghilev–Stravinsky collaborations including Petrushka (1911) and The Rite of Spring (1913). The Firebird's mortal and supernatural elements are distinguished with a system of leitmotifs placed in the harmony dubbed "leit-harmony". Stravinsky intentionally used many specialist techniques in the orchestra, including ponticello, col legno, flautando, glissando, and flutter-tonguing. Set in the evil immortal Koschei's castle, the ballet follows Prince Ivan, who battles Koschei with the help of the magical Firebird. Stravinsky later created three concert suites based on the work: in 1911, ending with the "Infernal Dance"; in 1919, which remains the most popular today; and in 1945, featuring significant reorchestration and structural changes. Other choreographers have staged the work with Fokine's original choreography or created entirely new productions using the music, some with new settings or themes. Many recordings of the suites have been made; the first was released in 1928, using the 1911 suite. A film version of the popular Sadler's Wells Ballet production, which revived Fokine's original choreography, was produced in 1959.

The Firebird (French: L'Oiseau de feu; Russian: Жар-птица, romanized: Zhar-ptitsa) is a ballet and orchestral concert work by the Russian composer Igor Stravinsky. It was written for the 1910 Paris season of Sergei Diaghilev's Ballets Russes company; the original choreography was by Michel Fokine, who collaborated with Alexandre Benois and others on a scenario based on the Russian fairy tales of the Firebird and the blessing and curse it possesses for its owner. It was first performed at the Opéra de Paris on 25 June 1910 and was an immediate success, catapulting Stravinsky to international fame and leading to future Diaghilev–Stravinsky collaborations including Petrushka (1911) and The Rite of Spring (1913). The Firebird's mortal and supernatural elements are distinguished with a system of leitmotifs placed in the harmony dubbed "leit-harmony". Stravinsky intentionally used many specialist techniques in the orchestra, including ponticello, col legno, flautando, glissando, and flutter-tonguing. Set in the evil immortal Koschei's castle, the ballet follows Prince Ivan, who battles Koschei with the help of the magical Firebird. Stravinsky later created three concert suites based on the work: in 1911, ending with the "Infernal Dance"; in 1919, which remains the most popular today; and in 1945, featuring significant reorchestration and structural changes. Other choreographers have staged the work with Fokine's original choreography or created entirely new productions using the music, some with new settings or themes. Many recordings of the suites have been made; the first was released in 1928, using the 1911 suite. A film version of the popular Sadler's Wells Ballet production, which revived Fokine's original choreography, was produced in 1959.

The Symphonies of Wind Instruments (French title: Symphonies d'instruments à vent) is a concert work written by Igor Stravinsky in 1920, for an ensemble of woodwind and brass instruments. The piece is in one movement, lasting about 9 minutes. It is dedicated to the memory of Claude Debussy, who died in 1918, and was premiered in London on 10 June 1921, conducted by Serge Koussevitzky. A piano reduction by Arthur Lourié was published in 1926, a full score appearing only after Stravinsky re-orchestrated the work in 1947.

The Symphony in C is an orchestral work by Russian expatriate composer Igor Stravinsky. The Symphony was written between 1938 and 1940 on a commission from American philanthropist Mrs. Mildred Barnes Bliss. It was a turbulent period of the composer's life, marked by illness and deaths in his immediate family. In 1937, Stravinsky was diagnosed with tuberculosis, which had already forced his wife and two daughters to a sanatorium in Switzerland. Stravinsky's daughter Ludmilla and wife Yekaterina died of their illnesses in November 1938 and March 1939, respectively, followed by Stravinsky's own quarantine and the death of his mother Anna in June 1939. Stravinsky was still mourning the deaths of his family members when World War II forced him to leave Europe. He had written the symphony's first two movements in France and Switzerland. Stravinsky wrote the third movement in Cambridge, Massachusetts, and the fourth movement in Hollywood, after his emigration to the United States. The symphony was premiered by the Chicago Symphony Orchestra under Stravinsky on November 7, 1940. The Symphony in C is representative of Stravinsky's neoclassical period, which had been launched by his ballet Pulcinella (1919–20), the opera Mavra (1921–22), and Octet for winds (1922–23). The symphony has a traditional, four-movement structure and lasts approximately 30 minutes: The Symphony in C is entirely abstract and seems a retreat into the "pure music" styles of Bach, Beethoven, and Haydn. Stravinsky disclaimed any link between his personal experiences and the symphony's content. Regarding its style, Stravinsky acknowledged a division of the symphony into halves. The first two movements, composed in Europe, use more traditional rhythmic patterns and harmonizations. The last two movements use frequent modulations of rhythm and are much more chromatic. Stravinsky's misfortunes apart, the Symphony in C had been infrequently performed in the composer's lifetime; Stravinsky noted that for several years he was the only person conducting the work. The work was choreographed by Martha Graham in the late 1980s. She named the result "Persephone" in ironic reference to another major work by Stravinsky. Although Graham choreographed all four movements, only the three-movement version was performed on stage.

The Symphony in E♭, Op. 1, is the first published work composed by Igor Stravinsky during his apprenticeship with Nikolai Rimsky-Korsakov. It is also his first composition for orchestra. Of classical structure, it is broadly influenced by Rimsky-Korsakov, Glazunov, Tchaikovsky and Wagner. It was composed in 1905–1907 and revised in 1913. It lasts for about forty minutes.

The Symphony in Three Movements is a work by Russian expatriate composer Igor Stravinsky. Stravinsky wrote the symphony from 1942–45 on commission by the Philharmonic Symphony Society of New York. It was premiered by the New York Philharmonic Orchestra under Stravinsky on January 24, 1946. The Symphony in Three Movements is considered Stravinsky's first major composition after emigrating to the United States. It uses material written by Stravinsky for abandoned film projects. In 1943, Stravinsky had begun work on rescoring his ballet The Rite of Spring. Although the project was left incomplete, his revisit to this earlier composition appears to have influenced the symphony. The ostinatos and shock tactics of the last movement, for example, recalls the "Glorification of the Chosen One" and "Sacrificial Dance" from The Rite, and some woodwind passages are reminiscent of the ballet's introduction. On the other hand, there are passages forecasting the opera The Rake's Progress, notably the openings of the slow movement and the finale. A typical performance of the symphony lasts 20–25 minutes: The symphony is scored for an orchestra of piccolo, 2 flutes, 2 oboes, 3 clarinets in B♭ and A (3rd doubling bass clarinet), 2 bassoons, contrabassoon, 4 horns, 3 trumpets in C, 3 trombones, tuba, timpani, bass drum, piano, harp, violins I & II, violas, cellos, and double basses. Stravinsky, who rarely acknowledged extramusical inspirations for his music, referred to the composition as his 'war symphony'. He claimed the symphony as a direct response to events of the Second World War in both Europe and Asia. The first movement was inspired by a documentary on Japanese scorched earth tactics in China. The third movement deals with footage of German soldiers goosestepping and the Allied forces' mounting success. Material is drawn from projects that Stravinsky had abandoned or reorganized. The piano's presence in the first movement stems from a piano concerto that was left incomplete. Music for harp is prominent in the second movement, using themes he had written for the film adaptation of Franz Werfel's novel The Song of Bernadette. Stravinsky was initially informally approached for the writing of the film score. On 15 February 1943 he started writing music for the "Apparition of the Virgin" scene. In the event, no contract was ever signed with him, and the project went to Alfred Newman, who won an Oscar. The third movement unites the first two movements by giving equal emphasis to piano and harp. In contrast to Stravinsky's earlier Symphony in C, the Symphony in Three Movements is much more turbulent and chromatic. From a purely musical standpoint, the Symphony hearkens back to Stravinsky's earlier styles of composition while retaining a firmly neoclassical identity. From 1979 to 1980, the American intermedia artist, Jack Ox, produced three visual mappings from Stravinsky's Symphony in Three Movements.

Tango is a 1940 piece originally composed for piano by Russian composer Igor Stravinsky. It is one of Stravinsky's most recorded works for piano.

Variations: Aldous Huxley in memoriam is Igor Stravinsky's last major orchestral composition, written in 1963–64.

Igor Stravinsky's Violin Concerto in D is a neoclassical violin concerto in four movements, composed in the summer of 1931 and premiered on October 23, 1931. It lasts approximately twenty minutes. It was used by George Balanchine as music for two ballets.