Perhaps no other twentieth-century composer can match Igor Stravinsky in the sheer complexity of the legal and material sides of his oeuvre and posthumous estate. Given the political turmoil in the first half of the century and the chequered histories of his publishers, even the safeguarding of his author’s rights was a nerve-racking affair. Then came the gifts, loans and sales of his manuscripts, his multiple emigrations and his tortuous family situation. All these factors, taken together, make a complete overview of the sources and far-flung documents wholly impossible, though in some cases they provide material for exciting stories.