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RE: Huh?

I still think you and Roy are giving Stravinsky far too much credit.

I don't think Prokofiev resented the success of Stravinsky so much: in fact, Prokofiev was doing well enough as a pianist, but wanted to devote more time to composing. I think this is what he resented (i.e., having to devote too much of his time to pianism rather than to composing) - not Stravinsky. I'll certainly be happy to concede the point however if you have evidence that he resented Stravinsky.

Yes, he was not pleasant to be around socially, but I don't believe there's any documentation that he was bitter. You say that after he returned to Russia, he tried to remove as much of Stravinsky's influence as possible, but you never established that that influence was present in the first place. After all, Prokofiev's Toccata was written in 1912, as were a number of his rhythmically propulsive compositions (Sarcasms, Second Piano Sonata). Stravinsky's Rite of Spring wasn't performed until 1913, so who's influencing whom?

As for octave displacements, you yourself point to the serialists as big practitioners of that technique. Why does Stravinsky get the credit for inventing this technique? As I see it, it was just part of the Zeitgeist

Yes, I agree that there is some lyrical writing in some of Stravinsky's early works - but I don't agree at all that it's the same kind of lyricism you find in Prokofiev.

I guess it's just a YMMV kind of thing?

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