From the time he wrote The Firebird (1909–10), Igor Stravinsky’s music achieved feats of compositional magic by combining musical recollection with innovation in a way that left each recognisable, yet inseparable from the other.1 Stravinsky’s works looked to the past by evoking established musical repertories and their conventions. In these same works, his frequently radical inventions created a groundbreaking musical present that motivated his own future and that of music more generally.