Chanson Russe carries with it the charm of a deeply personal collaboration. Igor Stravinsky and Samuel Dushkin met in the early 1930s, introduced by the publisher Willy Strecker of Schott Music, who hoped to encourage Stravinsky to write more chamber music. Stravinsky, who had long been skeptical of violinists, found in Dushkin not only a capable performer but a kindred spirit—someone who could translate his ideas with precision and sensitivity. Their partnership blossomed into a fruitful friendship, leading to several works for violin and piano, including the Suite Italienne and Duo Concertant.

The arrangement of Chanson Russe was part of this creative exchange. Dushkin, with Stravinsky’s blessing, adapted Parasha’s aria from Mavra—a moment of wistful longing in an otherwise satirical opera—into a standalone piece that could be performed in recital. Stravinsky reportedly enjoyed hearing Dushkin play it, often commenting on how the violin’s voice could evoke the subtle melancholy of the original soprano line without words.

One charming detail: Stravinsky and Dushkin would sometimes perform together at private salons and public concerts, with Stravinsky at the piano. These events were not only musical showcases but social gatherings, where Stravinsky’s dry wit and Dushkin’s elegance made them a popular duo. It’s said that Stravinsky, ever the perfectionist, would occasionally revise passages on the spot during rehearsals, prompting Dushkin to joke that playing with Igor was like “chasing a fox through a forest of modulations.”

*Chanson Russe*, though modest in length, remains a poignant reminder of this artistic camaraderie—a Russian melody refracted through Parisian salons and the hands of two masterful musicians.