How did Igor Stravinsky’s 1926 religious conversion affect his later compositions?

Igor Stravinsky’s religious conversion in 1926 had a notable impact on his stage and vocal music, introducing a distinct religious strain into his compositions. This shift is evident in several major works from that period:1

• Oedipus Rex (1927): An operatic oratorio that utilizes a libretto in Latin.1
• Symphony of Psalms (1930): An overtly sacred work based on biblical texts that incorporates the antique austerity of Russian Orthodox chant.1
• Ballets: Religious feeling is also reflected in the ballets Apollon musagète (1928) and Persephone (1934).1

Beyond these specific works, Stravinsky’s broader approach to composition—particularly in his sacred and theatrical pieces—often leaned toward an effect of ritual. This sense of solemn reenactment became a forceful and inspired element of his musical style, drawing on his ability to create a sense of motion and specific gravity within these solemnities.2