In 1906, Stravinsky married Catherine Nossenko, with whom he would have four children. In 1909, the founder of the Ballets Russes, Sergei Diaghilev , invited Stravinsky to orchestrate a couple of Chopin works for his ballet Les Sylphides . That, in turn, led to the commission of The Firebird ; a collaboration with choreographer Michel Fokine, the ballet turned Stravinsky into a household name upon its premiere in Paris in June 1910. The composer's fame was reinforced with the production of Petrouchka in 1911 and especially with The Rite of Spring , which incited a riot upon its 1913 premiere but was soon hailed for its revolutionary score.
Stravinsky's works of the 1960s continued to demonstrate complex rhythms and sounds, as well as fascinating harmony and counterpoint. These included Threni, ., Lamentations of Jeremiah (1958), A Sermon, a Narrative, and a Prayer (1961), The Flood (1962), Abraham and Isaac (1963), Requiem Canticles (1966), the unaccompanied Anthem on stanzas from T. S. Eliot's (1888–1965) Quartets, The Dove Descending Breaks the Air (1962), the setting for voice and three clarinets of W. H. Auden's (1907–1973) Elegy for JFK (1964), and the song for voice and piano on Edward Lear's (1812–1888) poem The Owl and the Pussycat (1968). Stravinsky's last major instrumental works were the Movements for piano and orchestra (1959) and the Variations for orchestra (1964), both of which were interpreted in ballets by Balanchine.
Stravinsky's relationship with his other main collaborator, Nijinsky, was more complicated. Diaghilev had decided that Nijinsky's genius as a dancer would translate into the role of ballet-master; he was not dissuaded when Nijinsky's first attempt at choreography, Debussy's L'après-midi d'un faune , caused controversy and near-scandal because of the dancer's novel stylised movements and his overtly sexual gesture at the work's end.   It is apparent from contemporary correspondence that, at least initially, Stravinsky viewed Nijinsky's talents as a choreographer with approval; a letter he sent to Findeyzen praises the dancer's "passionate zeal and complete self-effacement".  However, in his 1936 memoirs Stravinsky writes that the decision to employ Nijinsky in this role filled him with apprehension; although he admired Nijinsky as a dancer he had no confidence in him as a choreographer: "... the poor boy knew nothing of music. He could neither read it nor play any instrument".  [n 2] Later still, Stravinsky would ridicule Nijinsky's dancing maidens as "knock-kneed and long-braided Lolitas".