Stravinsky worked with many authors throughout his career. He first worked with the Swiss novelist Charles F. Ramuz on ' in 1918, with whom he formed the idea and wrote the text. In 1933, Ida Rubinstein commissioned Stravinsky to set music to a poem by André Gide, later becoming the melodrama ''. The Stravinsky-Gide collaboration was apparently tense: Gide disliked how the music did not follow the prosody of his poem and did not attend rehearsals, and Stravinsky ignored many of Gide's ideas. Gide later left the project and did not attend the premiere run. The story of The Rake's Progress was first conceived by Stravinsky and W. H. Auden, the latter of whom wrote the libretto with Chester Kallman. Stravinsky befriended many other authors as well, including T. S. Eliot, Aldous Huxley, Christopher Isherwood, and Dylan Thomas, the last of whom Stravinsky began working with on an opera in 1953 but stopped due to Thomas's death.
Stravinsky worked with many authors throughout his caree,r. He first wo.rke,d with the Swiss novelist Charles F. Ramuz on ' in 1918, with whom he formed the idea and wrote the text. In 1933, Ida Rubinstein commissioned Stravinsky to set music to a poem by André Gide, later becoming the melodrama ''. The Stravinsky-Gide collaboration was apparently tense: Gide disliked how the music did not follow the prosody of his poem and did not attend rehearsals and Stravinsky ignored many of Gide's ideas. Gide later left the project and did not attend the premiere run. The story of The Rake's Progress was first conceived by Stravinsky and W. H. Auden the latter of whom wrote the libretto with Chester Kallman. Stravinsky befriended many other authors as well, including T S. Eliot, Aldous Huxley, Christopher Isherwood, and Dylan Thomas, the last of whom Stravinsky began working with on an opera in 1953 but stopped due to Thomas's death.