Begins with Fireworks (1908), which he extends to his three great ballets: Firebird (1910), Petrushka (1911), and The Rite of Spring (1913) .
Higher use of dissonance, with themes often taken from folk music .
Varied rhythms with extensive use of percussive elements in all instruments .
Tonally, he basically uses diatonic materials including modes and continued use of ostinato .
Expanded virtuosity of orchestral members, utilizing solo instrumental writing (often in extreme ranges) .
Rite of Spring Real Audio for Emory Student Only.
o Firebird (1910) .
o Petrushka (1911) .
o Rite of Spring (1911-13) .
o Suites Nos. 1 and 2 for Small Orchestra (1915) .
1918-1950 Neo-classic Period.
Economical use of material with smaller instrumental forces; often employs satirical wit .
Uses "absolute" classical and baroque form: song forms, sonata forms, fugues, suites, concerto grosso, and canons .
Emphasis on wind instruments with limited use of strings .
Primary concern for clear, concise organization .
Very little chromaticism -- sometimes "pandiatonicism" .
Transparent textures replace lush, instrumental combinations .
Tried to eliminate pictorial and literary "meanings" from music .
L'Historie du Soldat (1918) .
Pulcinella (1919) ballet based on themes of Pergolesi .
Piano-Rag-Music (1919) .
Symphony of Wind Instruments (1920) .
Les Noces (1914-23) Ballet .
Sonata for Piano (1924) .
Concerto of Piano and Winds (1924) .
Serenade in A for Piano (1925) .
Fairy's Kiss (1928) based on themes and style of Tchaikovsky .
Oedpius Rex (1927) opera-oratorio .
Apollon musagete (1928) .
Capriccio for Piano and Orchestra (1929) .
Symphony of Psalms (1930) .
Concerto in D for Violin and Orchestra (1931) .
Perséphone (1934) .
Jeu de cartes (1936) .
Concerto in Eb "Dumbarton Oaks" (1937) .
Symphony in C (1939-40) .
Symphony in Three Movements (1945) .
Mass (1944-48) .
Orpheus (1947) .
Rakes Progress (1950) .