Stravinsky composed this ballet in the latter half of 1927 and in January 1928. It is unusual in its strings-only scoring, its serene and somber moods, and lack of conflict. Stravinsky wrote the work on commission from the Elizabeth Sprague Coolidge Foundation (paying $1,000, it was his first American commission), and was allowed to select his own scenario. He had already pondered the idea of a ballet based on Greek mythology and now decided to fashion one centered on Apollo, leader of the Muses. His recently completed opera-oratorio Edipus Rex might also have influenced his choice of subject, and in a more general sense the work fit the composer's neo-Classical inclinations of the time.

In Greek mythology Apollo had nine Muses, but, probably owing to the specification in the commission that the ballet last no more than a half hour, Stravinsky reduced their number to three: Calliope, patroness of epic poetry; Polyhymnia, of mime; and Terpsichore, of the dance. The First Scene opens with "Apollo's Birth," which takes place on Delos. The music can best be described as having an epic, philosophical quality despite its serene and peaceful demeanor, though the faster tempo of the middle section, which represents the two goddesses attending the birth, offers needed contrasts and a measure of color.

Scene Two brings "Apollo's Variation," which opens with a cadenza for violin that does not break the generally somber mood. The next sections, "Pas d'action," "Calliope's Variation," "Polyhymnia's Variation," and "Terpsichore's Variation," offer a little more color and animation. Calliope's music is lithe and nonchalant, lasting about a minute-and-a-half. "Polyhymnia's Variation," shorter still, is lively and buoyant, yet even here there is a measure of restraint that serves to harness any tendency to break into joviality. "Terpsichore's Variation" is slow and emotionally detached. This is the longest variation of the last three. "Apollo's Variation" follows with new music, not repeating anything heard in the first Variation. At the outset the writing is for the full complement of strings, although a short passage for quintet eventually surfaces. Next, the adagio "Pas de deux" for Apollo and Terpsichore is elegant and serene. The "Coda," written for Apollo and the three Muses, features lively, rhythmic music. This may be the happiest music in the score, even if it is demurely so. "Apotheosis" is serene and recalls the work's opening theme. Here the music depicts Apollo leading the three Muses to Parnassus.

If the contemporaneous Edipus Rex divulges Stravinsky's dark humor and tragedy in dealing with Greek mythological subjects, Apollon musagète is a ballet counterpart, though in an opposite way. Apollon Musagete shows the composer's peaceful and dignified side and features reliance on the major mode in contrast to the minor mode predilection of the former work. This is Stravinsky at his most restrained; yet within that restraint the composer finds a freedom of expression that is both appropriate to the subject matter and artistically satisfying.

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