(another Rimsky-Korsakov pupil) and Tchaikovsky. In August he travelled from Pavlovka to Krapachukha, in the Valdye Hills to the south-east of St Petersburg, where the Rimsky-Korsakovs were staying that year. Rimsky-Korsakov gave him instruction in sonata writing, and set him orchestration exercises based on his own recently completed opera, Pan Voyevoda. Back in St Petersburg, Stravinsky completed the first two movements of the sonata, then broke off to compose a cantata for performance at Rimsky's house on his 60th birthday in March 1904; the cantata was duly performed under the composer's direction, and was described by Rimsky in his diary as not bad, but the music has not survived. After completing the sonata at Pavlovka that following summer, Stravinsky soon embarked on his next assignment, a large-scale symphony, which, like the sonata, cultivated good practice in terms of conventional models, the obvious models being again Glazunov and Tchaikovsky. The first draft of the 40-minute Symphony in E came more rapidly than the sonata, and was finished in September 1905. Stravinsky had been continuing his law studies and living at home on the Kryukov Canal. It was not a comfortable time. Anna had been overwhelmed by her husband's death late in 1902 (according to her great-niece, she kept a photograph of Fyodor in his coffin by her bed for the rest of her life); and she may have resented Rimsky-Korsakov's influence on her son, and its tendency to draw him further into the idea of a musical career. She certainly resented Yury's marriage in January 1904, and cordially detested her new daughter-in-law. On one occasion, Igor fled to Yury's house and stayed there for some days before crawling home to the Kryukov flat. He was also frequently at the Rimsky-Korsakovs', either for his weekly lesson (after which he would usually stay to dinner), or for the regular musical soirees which, early in 1905, crystallized into a formal jour fixe every Wednesday, and which his brother Gury, who was developing into a fine baritone, often attended as well. There were also concerts at the so-called Assembly of the Nobility (now the Philharmonic), especially the ever more stereotyped Russian Symphony Concerts, a regular series devoted exclusively to Russian music, founded by the publisher Mitrofan Belyayev, which Rimsky-Korsakov would attend with favoured pupils, often also sitting in on rehearsals. More repertory based were the concerts of the Russian Musical Society, and (from 1903) the enterprising Ziloti concerts, which introduced new music from the West (Strauss, Elgar, Debussy, Mahler) and were by far the best played. Stravinsky would also sometimes go to the Mariinsky with his teacher, but only ever to opera (Rimsky-Korsakov and his entire circle despised ballet). Rimsky-Korsakov himself was writing mainly operas at the time, and his own premieres were red-letter days for all his pupils. Stravinsky went to Pan Voyevoda (in the Conservatory) in October 1904, and The Legend of the Invisible City of Kitezh, another score on which he himself had worked, at the Mariinsky in February 1907. It was at Rimsky-Korsakov's Wednesdays that Stravinsky had his own first performances. After the