The 1921 orchestra score of Le Sacre du printemps, the first to be published, differs greatly from the original (1913) version. In a letter to an unidentified French correspondent, 9 January 1918, Stravinsky says that the printing of the first edition was interrupted by the war, and that he possesses only one copy of the proofs. A year later, answering a request by Felix Delgrange to perform the Sacre, the composer writes says

…105 musicians are required and you have only 80. Also, it is necessary to follow my markings. Furthermore, the only orchestra parts in existence are in my possession. (Letter of April, 1919)

In 1974 Henri Pousseur created a large-scale homage/critique of Schoenberg, The Trials of Peter the Hebrew. That other mandarin Stravinsky has received two testimonials, a collaborative piece called Stravinsky au futur, and L'effacement du Prince Igor—The Obliteration of Prince Igor. All of Pousseur's resonant titles contain so many associations—here the Russian lineage, the Stalinist embargo, the social position (not King of the Stars?), the aristocratic conceit, the alleged erosion of personality.