Igor Stravinsky: influences, peers and legacy

Every connection with its receipt

Stravinsky's century-long reinvention runs from the St Petersburg conservatory world of Rimsky-Korsakov through Diaghilev's Paris, neoclassical borrowings from Pergolesi and Hogarth, and finally serialism in Hollywood. This mix traces the Russian folk sources beneath the modernism, the painters and poets who shaped his stage works, and the composers who could not write around him afterwards.

The Kynda mix for Igor Stravinsky

• Key Influence · Scheherazade by Nikolai Rimsky-Korsakov (1888). Stravinsky studied privately with Rimsky-Korsakov from roughly 1905 until the elder composer's death in 1908, and called himself his pupil for life. Scheherazade's glittering orchestration — solo violin arabesques, octatonic colour, Russian orientalism — is the technical bedrock of The Firebird, which Diaghilev commissioned partly because the young man sounded like his teacher. Stravinsky's Funeral Song of 1908 was written in his memory.
• Influencia Obscura · Russian Fairy Tales by Alexander Afanasyev (1855). Afanasyev's vast folktale collection supplied Stravinsky with plots and, crucially, with peasant verse rhythm. Renard takes its boastful fox and cock from Afanasyev, and the Firebird and Baba Yaga material circulates through the same anthology. Stravinsky treated the texts as sound objects, letting irregular folk accentuation generate the shifting metres that listeners mistake for pure abstract rhythmic invention.
• Local Roots · Boris Godunov by Modest Mussorgsky (1874). The St Petersburg inheritance Stravinsky grew up inside: his father Fyodor was a leading bass at the Mariinsky Theatre who sang Mussorgsky roles, so the boy knew this repertoire from the wings. Mussorgsky's blunt modal harmony, bell sonorities and speech-shaped declamation feed directly into Stravinsky's Russian works, and in 1913 he and Ravel were engaged to rework Mussorgsky's unfinished Khovanshchina for Diaghilev.
• Beyond the Medium · A Rake's Progress by William Hogarth (1735). Stravinsky saw Hogarth's eight moral engravings at the Art Institute of Chicago in 1947 and immediately conceived an opera from them, enlisting W. H. Auden to build a libretto around Tom Rakewell's descent to Bedlam. The resulting number opera, premiered in Venice in 1951, is his largest stage work — proof that a sequence of satirical prints could dictate the shape, scenes and morality of a Mozartian score.
• Peer · Pierrot lunaire by Arnold Schoenberg (1912). Stravinsky heard Pierrot in Berlin in December 1912 and was struck enough to answer it with the Three Japanese Lyrics, scored for a comparable chamber ensemble. The two men became the opposed poles of modernism, rivals in Paris and later neighbours in Los Angeles who barely spoke. After Schoenberg died in 1951, Stravinsky — guided by Robert Craft — adopted serial technique in Canticum Sacrum and Agon.
• From the Canon · The Rite of Spring by Igor Stravinsky (1913). The riotous Théâtre des Champs-Élysées premiere of 29 May 1913, choreographed by Nijinsky with designs by Nicholas Roerich, remains the founding scandal of musical modernism. Its pounding irregular accents, stacked bitonal chords and imagined pagan sacrifice rewrote what an orchestra could do with rhythm. Every later phase of Stravinsky's career — neoclassical, serial — was in some sense a deliberate turn away from it.
• Key Collaborator · The Age of Anxiety by W. H. Auden (1947). Auden, with Chester Kallman, wrote the libretto for The Rake's Progress after Aldous Huxley recommended him; he stayed with the Stravinskys in Hollywood while they planned the scenario together, and the composer regarded him as the finest collaborator of his life. This long baroque eclogue, written in the same years, shows the verse technique and moral irony Auden brought to Tom Rakewell's rise and ruin.
• Legacy · Appalachian Spring by Aaron Copland (1944). Copland repeatedly described hearing Stravinsky in 1920s Paris while studying with Nadia Boulanger — herself Stravinsky's great champion — as decisive. The angular ostinati, additive metres and transparent wind-led scoring of his American ballets are Rite of Spring technique applied to Shaker hymnody and cowboy tunes, and the model of folk material hardened by modernist rhythm passed from Stravinsky to a generation of Americans.

What influenced Igor Stravinsky

• Nikolai Rimsky-Korsakov. Stravinsky studied music under Rimsky-Korsakov. (also via Scheherazade, The Golden Cockerel) “While studying law at the University of Saint Petersburg , he met Nikolai Rimsky-Korsakov and studied music under him until the latter's death in 1908.” (Wikipedia)
• Benjamin Britten. Stravinsky used themes also found in Britten’s works. “Stravinsky was thus the sole Russian highlighted in the first symposium on Britten's music, in 1952, as a significant assimilated influence in terms of instrumental technique, orchestral texture and rhythm.” (Benjamin Britten and Russia)
• Claude Debussy. The concerts introduced Stravinsky to Debussy’s music. (also via Prélude à l'après-midi d'un faune) “Stravinsky remembered the concerts as intriguing and intellectually stimulating, being the first place he was exposed to French composers like Franck , Dukas , Fauré , and Debussy .” (Wikipedia)
• Arnold Schoenberg. Schoenberg influenced Stravinsky’s serial technique and instrumentation. (also via Pierrot lunaire) “He was heavily influenced by Schoenberg, not only in his use of the twelve-tone technique, but also in the distinctly "Schoenbergian" instrumentation of the Septet” (Wikipedia)
• Wolfgang Amadeus Mozart. Dushkin reports that Stravinsky admires Mozart despite differing methods. “since they are foreign to his own, as much as he does, for instance, Mozart.” (Evening Star (Washington, D.C.))
• Russian Fairy Tales by Alexander Afanasyev (1855). Russian Fairy Tales (Alexander Afanasyev) — ghost for Igor Stravinsky “The ballet-cantata Les noces was based on texts from a collection of Russian folk poetry by Pyotr Kireevsky, and his opera-ballet Renard was based on a folktale collected by Alexander Afanasyev.” (en.wikipedia.org)
• A Rake's Progress by William Hogarth (1735). A Rake's Progress (William Hogarth) — culture for Igor Stravinsky “==== Turn towards serialism ==== As he became more familiar with English, Stravinsky developed the idea to write an English-language opera based on William Hogarth's series of paintings The Rake's Progress.” (en.wikipedia.org)
• Three Musicians by Pablo Picasso (1921). Three Musicians (Pablo Picasso) — culture for Igor Stravinsky “When the Ballets Russes traveled to Rome in April 1917, Stravinsky met Spanish artist Pablo Picasso, and the two adventured around Italy; a commedia dell'arte they saw in Naples inspired the ballet Pulcinella, which premiered in Paris in…” (en.wikipedia.org)
• Oedipus Rex by Sophocles. Oedipus Rex (Sophocles) — culture for Igor Stravinsky “In 1925, Stravinsky asked French writer and artist Jean Cocteau to write the libretto for an operatic setting of Sophocles's tragedy Oedipus Rex in Latin.” (en.wikipedia.org)
• César Franck. The concerts introduced Stravinsky to Franck’s music. “Stravinsky remembered the concerts as intriguing and intellectually stimulating, being the first place he was exposed to French composers like Franck , Dukas , Fauré , and Debussy .” (Wikipedia)
• Paul Dukas. The concerts introduced Stravinsky to Dukas’s music. “Stravinsky remembered the concerts as intriguing and intellectually stimulating, being the first place he was exposed to French composers like Franck , Dukas , Fauré , and Debussy .” (Wikipedia)
• Gabriel Fauré. The concerts introduced Stravinsky to Fauré’s music. “Stravinsky remembered the concerts as intriguing and intellectually stimulating, being the first place he was exposed to French composers like Franck , Dukas , Fauré , and Debussy .” (Wikipedia)
• Anton Webern. Webern’s work encouraged Stravinsky to consider serial composition. “Stravinsky was very familiar with the works of Anton Webern , being one of the figures who inspired Stravinsky to consider serialism a possible form of composition.” (Wikipedia)
• Michael Tippett. Matthews reports hearing Tippett acknowledge Stravinsky as his master. “I recently heard Sir Michael Tippett acknowledge Stravinsky as his master.” (Tempo)
• Gruppen by Karlheinz Stockhausen. The article identifies Gruppen as a possible influence on Stravinsky’s rhythms. “The influence of his Kontra-Punkte , Zeitmaße and Gruppen may be seen in the work of many composers, including Igor Stravinsky 's Threni (1957–58) and Movements for piano and orchestra (1958–59) and other works up to the Variations: Aldo…” (Wikipedia)
• The Golden Cockerel by Nikolai Rimsky-Korsakov. The Firebird uses a harmonic device also used in The Golden Cockerel. (via The Firebird) “The Firebird used a harmonic structure that Stravinsky called "leit-harmony", a portmanteau of leitmotif and harmony used by Rimsky-Korsakov in his opera The Golden Cockerel .” (Wikipedia)
• Russian Folk Tales by Alexander Afanasyev. Afanasyev’s collection inspired The Firebird. (via The Firebird) “Many of Stravinsky's works, including The Firebird , Renard , and L'Histoire du soldat were inspired by Afanasyev's collection Russian Folk Tales .” (Wikipedia)
• Scheherazade by Nikolai Rimsky-Korsakov (1888). Scheherazade (Nikolai Rimsky-Korsakov) — titan for Igor Stravinsky “While studying law at the University of Saint Petersburg, he met Nikolai Rimsky-Korsakov and studied music under him until the latter's death in 1908.” (en.wikipedia.org)
• The Sleeping Beauty by Pyotr Ilyich Tchaikovsky (1890). The Sleeping Beauty (Pyotr Ilyich Tchaikovsky) — titan for Igor Stravinsky “(In this sense, Tchaikovsky operated in the opposite manner to Igor Stravinsky, who turned to Neoclassicism partly as a form of compositional self-discovery.) Tchaikovsky's attraction to ballet might have allowed a similar refuge into a …” (en.wikipedia.org)
• Prélude à l'après-midi d'un faune by Claude Debussy (1894). Prélude à l'après-midi d'un faune (Claude Debussy) — titan for Igor Stravinsky “His works have strongly influenced a wide range of composers including Béla Bartók, Igor Stravinsky, George Gershwin, Olivier Messiaen, George Benjamin, and the jazz pianist and composer Bill Evans.” (en.wikipedia.org)
• Richard Wagner. Dushkin notes Stravinsky's relationship to Wagner's compositional methods as a point of contrast and reference.
• Songs Collected by P. V. Kireyevsky by Pyotr Kireyevsky (1868). Songs Collected by P. V. Kireyevsky (Pyotr Kireyevsky) — ghost for Igor Stravinsky

Peers and kindred spirits

• Pablo Picasso. Picasso and Stravinsky collaborated on Pulcinella. (also via Three Musicians) “the two also worked together on Les noces (1923) and Pulcinella (1920) together with Picasso , who designed the costumes and the set.” (Wikipedia)
• Sergei Diaghilev. Diaghilev commissioned three Stravinsky ballets. (also via The Firebird) “Perhaps the most evident legacy is the music Diaghilev commissioned. Ballet scores by Stravinsky, de Falla and others continue to be performed in concert halls around the world.” (Victoria and Albert Museum)
• Henri Matisse. Matisse designed decor for a stage work composed by Stravinsky. (also via Le Chant du rossignol) “Costume design: Henri Matisse Costumier: Marie Muelle Scenery design: Henri Matisse Music: Igor Stravinsky Choreography: Léonide Massine” (National Gallery of Australia)
• Coco Chanel (1883). Chanel was introduced to and had a relationship with composer Stravinsky, whom she housed at Bel Respiro. (also via The Rite of Spring, Le Sacre du printemps) “In the spring of 1920, Chanel was introduced to the Russian composer Igor Stravinsky by Sergei Diaghilev , impresario of the Ballets Russes” (Wikipedia)
• Samuel Dushkin (1891). Establishes that Dushkin collaborated directly with Stravinsky in composing the violin concerto. “Stravinsky visited his publisher's home and met Polish-American violinist Samuel Dushkin , who convinced him to compose the Violin Concerto with the latter's help on the solo part.” (Wikipedia)
• W. H. Auden. Stravinsky worked with Auden on The Rake’s Progress libretto. (also via The Age of Anxiety) “Stravinsky joined Auden to write the libretto in November 1947; American writer Chester Kallman was later brought in to assist Auden.” (Wikipedia)
• Jean Cocteau. Cocteau wrote the libretto for Stravinsky’s Oedipus rex. (also via Le Sacre du printemps) “Cocteau wrote the libretto for Igor Stravinsky 's opera-oratorio Oedipus rex , which had its original performance in the Théâtre Sarah Bernhardt in Paris on 30 May 1927.” (Wikipedia)
• Paul Poiret (1879). Poiret hosted concerts featuring the music of Igor Stravinsky at his gallery events. “performances of work by Erik Satie , Darius Milhaud , Igor Stravinsky and Georges Auric” (Wikipedia)
• Leopold Stokowski (1882). Establishes Stokowski conducting Stravinsky's violin concerto following the composer's own interpretation. “Does Stokowski conduct it the way Strawinsky did?” (Evening Star (Washington, D.C.))
• Orpheus. Orpheus was a collaboration with composer Stravinsky. “the most notable featuring the ballet Orpheus created in collaboration with Stravinsky and sculptor and designer Isamu Noguchi” (Wikipedia)
• Daphnis et Chloé by Maurice Ravel (1912). Daphnis et Chloé (Maurice Ravel) — peer for Igor Stravinsky “==== Illness and wartime collaborations ==== Soon after, Stravinsky was admitted to a hospital for typhoid fever and stayed in recovery for five weeks; numerous colleagues visited him, including Debussy, Manuel de Falla, Maurice Ravel, a…” (en.wikipedia.org)
• The Age of Anxiety by W. H. Auden (1947). The Age of Anxiety (W. H. Auden) — collaborator for Igor Stravinsky “In 1947–1948, Auden and Kallman wrote the libretto for Igor Stravinsky's opera The Rake's Progress, and later collaborated on two libretti for operas by Hans Werner Henze.” (en.wikipedia.org)
• Les Biches by Bronislava Nijinska (1924). Les Biches (Bronislava Nijinska) — collaborator for Igor Stravinsky “In 1923, with a score by Igor Stravinsky she choreographed her iconic work Les noces [The Wedding].” (en.wikipedia.org)
• Charles F. Ramuz. Stravinsky and Ramuz collaborated on L’Histoire du soldat. “Stravinsky met numerous Swiss-French artists during his time in Morges, including writer Charles F. Ramuz , with whom he collaborated on the small-scale theater work L'Histoire du soldat .” (Wikipedia)
• Chester Kallman. Kallman joined the work on Stravinsky’s opera libretto. “Stravinsky joined Auden to write the libretto in November 1947; American writer Chester Kallman was later brought in to assist Auden.” (Wikipedia)
• Billy the Kid by Aaron Copland (1938). The article draws a compositional comparison between the two ballets. (via The Rite of Spring) “In that sense, Copland's Populist works such as Billy the Kid , Rodeo , Appalachian Spring are not far removed from Stravinsky's ballet The Rite of Spring .” (Wikipedia)
• Pavillon d'Armide by Nikolai Tcherepnin (1907). Pavillon d'Armide (Nikolai Tcherepnin) — geography for Igor Stravinsky “Diaghilev asked multiple composers to write the ballet's score, including Lyadov and Nikolai Tcherepnin, but after none committed to the project, Diaghilev turned to Stravinsky, who gladly accepted the task.” (en.wikipedia.org)
• Pierrot lunaire by Arnold Schoenberg (1912). Pierrot lunaire (Arnold Schoenberg) — peer for Igor Stravinsky “In his serial period, Stravinsky turned towards compositional techniques from the Second Viennese School like Arnold Schoenberg's twelve-tone technique.” (en.wikipedia.org)
• Scythian Suite by Sergei Prokofiev (1915). Scythian Suite (Sergei Prokofiev) — peer for Igor Stravinsky “(The original Russian-language full title was Сказка про шута, семерых шутов перешутившего, meaning "The Tale of the Buffoon who Outwits Seven Other Buffoons".) Under Diaghilev's guidance, Prokofiev chose his subject from a collection of…” (en.wikipedia.org)
• Serenade by George Balanchine (1934). Serenade (George Balanchine) — collaborator for Igor Stravinsky “George Balanchine choreographed the premiere, beginning decades of collaborations between him and Stravinsky.” (en.wikipedia.org)
• Erik Satie. Les Noces (Igor Stravinsky) — peer for Erik Satie (via Les Noces) “Igor Stravinsky, whom Satie admired, praised the work.” (en.wikipedia.org)
• Boris Godunov by Modest Mussorgsky (1874). Boris Godunov (Modest Mussorgsky) — geography for Igor Stravinsky
• Ruslan and Lyudmila by Mikhail Glinka (1842). Ruslan and Lyudmila (Mikhail Glinka) — geography for Igor Stravinsky

Who Igor Stravinsky influenced

• Martha Graham (1894). Compares Graham's influence on dance to Stravinsky's on music. (also via Sacre du Printemps, The Rite of Spring) “Her impact has been also compared to the influence of Stravinsky on music and Frank Lloyd Wright on architecture.” (Wikipedia)
• George Balanchine (1904). MacNeil compares Balanchine's stature in dance to Stravinsky's in music. (also via Le Sacre du printemps, Apollon musagète, Serenade) “like Picasso and Stravinsky he broke ground, and like the two aforementioned gentlemen, he was that cliched word, a genius.” (The MacNeil/Lehrer Report (public broadcasting))
• Aaron Copland (1900). The article identifies Copland as influenced by Stravinsky. (also via Le Sacre du printemps, Appalachian Spring, Billy the Kid) “I think Aaron Copland would do the same: for both men Stravinsky is in many ways an ideal, a hero-figure.” (Tempo)
• Frank Zappa. Zappa named Stravinsky among composers he valued. (also via L'Histoire du soldat, Lumpy Gravy) “it didn't make any difference to me if I was listening to Lightnin' Slim , or a vocal group called the Jewels ..., or Webern , or Varèse , or Stravinsky . To me it was all good music.” (Wikipedia)
• Steve Reich. The article says Reich cites Stravinsky as an early influence. (also via The Rite of Spring, Music for 18 Musicians) “I became a composer because I loved Bach, because I loved Stravinsky, because I loved jazz.” (American Mavericks)
• Samuel Barber. The article identifies Stravinsky as an influence on a new phase of Barber’s composition. “his Capricorn Concerto was an exercise in Stravinskian neo-classicism, a modern take on a Baroque concerto grosso;” (WETA)
• Charlie Parker. Contemporaries reported Parker’s interest in Stravinsky’s music and innovations. (also via The Firebird) “contemporaries reported he was most interested in the music and formal innovations of Igor Stravinsky and longed to engage in a project akin to what later became known as third stream” (Wikipedia)
• The Magic Band (1965). Groening compares The Magic Band's music to the rhythms of Igor Stravinsky. “it's a combination of some of the heartfelt depth of feeling that you get from delta blues combined with the rhythms of Igor Stravinsky.” (Fresh Air (NPR))
• Appalachian Spring by Aaron Copland. Appalachian Spring (Aaron Copland) — legacy for Igor Stravinsky “Stravinsky's revolutionary ideas influenced composers as diverse as Aaron Copland, Philip Glass, Béla Bartók, and Pierre Boulez, who were all challenged to innovate music in areas beyond tonality, especially rhythm and musical form.” (en.wikipedia.org)
• Lumpy Gravy by Frank Zappa (1968). Lumpy Gravy (Frank Zappa) — legacy for Igor Stravinsky “According to The Rough Guide to Rock (2003), "as a teenager Zappa was simultaneously enthralled by black R&B (Johnny 'Guitar' Watson, Guitar Slim), doo-wop (The Channels, The Velvets), and modern composers, such as Igor Stravinsky, Anton…” (en.wikipedia.org)
• Philip Glass (1937). The article identifies Glass as influenced by Stravinsky. “Stravinsky's revolutionary ideas influenced composers as diverse as Aaron Copland , Philip Glass , Béla Bartók , and Pierre Boulez” (Wikipedia)
• Béla Bartók. The article identifies Bartók as influenced by Stravinsky. “Stravinsky's revolutionary ideas influenced composers as diverse as Aaron Copland , Philip Glass , Béla Bartók , and Pierre Boulez” (Wikipedia)
• Pierre Boulez. The article identifies Boulez as influenced by Stravinsky. “Stravinsky's revolutionary ideas influenced composers as diverse as Aaron Copland , Philip Glass , Béla Bartók , and Pierre Boulez” (Wikipedia)
• John Williams. Stravinsky's work is named among the inspiration tracks supplied to Williams. “in the style of classical composers Gustav Holst , William Walton , and Igor Stravinsky ; works that Lucas had used as " temp tracks " for Williams to gain inspiration from.” (Wikipedia)
• Symphony for Organ and Orchestra. The article attributes aspects of the symphony's rhythm and harmony to Stravinsky's influence. “Murchinson points out the influence of Igor Stravinsky in the work's nervous, driving rhythms and some of its harmonic language.” (Wikipedia)
• Cruising with Ruben & the Jets. Zappa explained the album's conception by reference to Stravinsky's approach. “Zappa later remarked that the album was conceived like Stravinsky's compositions in his neo-classical period: "If he could take the forms and clichés of the classical era and pervert them, why not do the same ... to doo-wop in the fifties?"” (Wikipedia)
• George Gershwin. Stravinsky’s works intrigued Gershwin. “Gershwin was intrigued by the works of Arnold Schoenberg , Igor Stravinsky , Dmitri Shostakovich , Darius Milhaud and Berg.” (Wikipedia)
• Sonatine bureaucratique. The article connects the work to the neoclassicism Stravinsky later adopted. “His Sonatine bureaucratique anticipates the neoclassicism soon adopted by Stravinsky.” (Wikipedia)
• Phaedra by Tangerine Dream (1974). Faine compares the critical reception of Graham's Phaedra to the initial reception of Stravinsky's Rite of Spring, drawing a cross-medium parallel between dance and music. (via Rite of Spring) “He said Igor Stravin sky's "Rite of Spring" got "the same kind of reception" when it was first played 50 years ago, but now is recognized as a great artistic work.” (Evening Star (Washington, D.C.))
• Edgard Varèse. The article says The Rite of Spring’s rhythmic innovations inspired Varèse. (via The Rite of Spring) “The rhythmic innovations in The Rite of Spring brought rhythm to the forefront of modern music rather than tonality, setting a new standard in the modernist movement that future composers like Varèse and Ligeti were inspired to innovate …” (Wikipedia)
• György Ligeti. The article says The Rite of Spring’s rhythmic innovations inspired Ligeti. (via The Rite of Spring) “The rhythmic innovations in The Rite of Spring brought rhythm to the forefront of modern music rather than tonality, setting a new standard in the modernist movement that future composers like Varèse and Ligeti were inspired to innovate …” (Wikipedia)
• Fountain of Love. Fountain of Love incorporates the opening theme of The Rite of Spring. (via The Rite of Spring) “The opening theme from Stravinsky's The Rite of Spring is sung in "Fountain of Love".” (Wikipedia)
• Music for 18 Musicians by Steve Reich (1978). Music for 18 Musicians (Steve Reich) — legacy for Igor Stravinsky (musicbrainz.org)
• Herbie Hancock. The Rite of Spring (Igor Stravinsky) — culture for Herbie Hancock (via The Rite of Spring) “Previous Norton lecturers include musicians Leonard Bernstein, Igor Stravinsky, and John Cage.” (en.wikipedia.org)
• Frühlingsopfer. Bausch's Frühlingsopfer is her choreographic version of Stravinsky's The Rite of Spring. (via The Rite of Spring)
• Ennio Morricone (1928). The Rite of Spring (Igor Stravinsky) — titan for Ennio Morricone (via The Rite of Spring)
• Pauline Clayden. Scènes de ballet (orchestral score) (Igor Stravinsky) — culture for Pauline Clayden (via Scènes de ballet (orchestral score))
• Paul Taylor (1930). The Rite of Spring (Igor Stravinsky) — culture for Paul Taylor (via The Rite of Spring)
• Joni Mitchell (1943). Le Sacre du printemps (Igor Stravinsky) — ghost for Joni Mitchell (via Le Sacre du printemps)
• John Coltrane. The Rite of Spring (Igor Stravinsky) — culture for John Coltrane (via The Rite of Spring)
• Charles Mingus. The Rite of Spring (Igor Stravinsky) — culture for Charles Mingus (via The Rite of Spring)
• Dizzy Gillespie (1917). The Rite of Spring (Igor Stravinsky) — culture for Dizzy Gillespie (via The Rite of Spring)
• T. S. Eliot (1888). The Rite of Spring (Igor Stravinsky) — culture for T. S. Eliot (via The Rite of Spring)
• Marie Laurencin. The Rite of Spring (Igor Stravinsky) — culture for Marie Laurencin (via The Rite of Spring)
• Chanel No. 5 by Gabrielle 'Coco' Chanel (1921). Le Sacre du Printemps (Igor Stravinsky) — culture for Chanel No. 5 (via Le Sacre du printemps)