overuse in the Symphony. The three ballets composed for Diaghilev's Ballets Russes call for particularly large orchestras: The Firebird (1910) is scored for the following orchestra: 2 piccolos (2nd doubles 3rd flute), 2 flutes, 3 oboes, cor anglais, 3 clarinets in A (3rd doubles piccolo clarinet in D), bass clarinet, 3 bassoons (3rd doubles contrabassoon 2), contrabassoon, 4 horns, 3 trumpets in A, 3 trombones, tuba, timpani, percussion, celesta, piano, 3 harps, and strings. The percussion section requires bass drum, cymbals, triangle, tambourine, tam-tam, tubular bells, glockenspiel, and xylophone. In addition, the original version calls for 3 onstage trumpets and 4 onstage Wagner tubas (2 tenor and 2 bass). The original version of Petrushka (1911) calls for a similar orchestra (without onstage brass, but with the addition of onstage snare drum). The particularly prominent role of the piano is the result of the music's origin as a Konzertstück for piano and orchestra. The Rite of Spring (1913) calls for the largest orchestra Stravinsky ever employed: piccolo, 3 flutes (3rd doubles 2nd piccolo), alto flute, 4 oboes (4th doubles 2nd cor anglais), cor anglais, piccolo clarinet in D/E, 3 clarinets (3rd doubles 2nd bass clarinet), bass clarinet, 4 bassoons (4th doubles 2nd contrabassoon), contrabassoon, 8 horns (7th and 8th double tenor tubas), piccolo trumpet in D, 4 trumpets in C (4th doubles bass trumpet in E), 3 trombones, 2 tubas, 2 timpanists (5 drums), 4 percussionists, and strings. The percussion section requires bass drum, tam-tam, triangle, tambourine, cymbals, crotales, and guiro. Included among his students in the 1940s was the American composer and music educator Robert Strassburg. In the early 1960s his students included Robert Craft and Warren Zevon. Personality Stravinsky displayed a taste in literature that was wide and reflected his constant desire for new discoveries. The texts and literary sources for his work began with a period of interest in Russian folklore, which progressed to classical authors and the Latin liturgy and moved on to contemporary France (working with André Gide in Persephone) and eventually English literature, including Auden, T. S. Eliot, and medieval Latin verse. He also had an inexhaustible desire to explore and learn about art, which manifested itself in several of his Paris collaborations. Not only was he the principal composer for Diaghilev's Ballets Russes, but he also collaborated with Pablo Picasso (Pulcinella, 1920), Jean Cocteau (Oedipus Rex, 1927), and George Balanchine (, 1928). His interest