If these works are lush, lurid wedding cakes, heavy on the frosting, then “The Rite of Spring,” which closed the concert, is simultaneously the cake and the knife that cuts it. It revels in folk melodies and Rimsky-Korsakov-style grandeur while deconstructing both with a savage energy that was captured well by the conductor Leon Botstein and his American Symphony Orchestra, the festival’s house ensemble, which was in excellent form all weekend.

With Stravinsky’s increasing presence in Western Europe in the 1910s came new circles of experimentation and influence. A chamber-music concert Sunday afternoon illustrated the impact of Schoenberg’s 1912 song cycle “Pierrot Lunaire” by following it with works by Ravel, Maurice Delage and Stravinsky, whose “Trois Poésies de la Lyrique Japonaise” (1913) and “Pribaoutki” (1914) show him ingesting and developing Schoenberg’s striking text settings and kaleidoscopic instrumental accompaniment. The same program featured a selection of brief, somber works by Stravinsky, de Falla, Ravel, Bartok and Satie originally collected to honor the death of Debussy, who had borrowed from Stravinsky (“The Firebird” and “Petrushka,” especially) in piano works like “En Blanc et Noir.”

Late Sunday afternoon, the weekend’s closing performance, semi-staged with evocative projections was a reminder of the embrace of popular sounds and the close relationships among the arts in Paris at the time, exemplified in works like “Le Travail du Peintre,” Poulenc’s setting of Paul Éluard’s poems about contemporary painters, and “Parade,” Satie’s collaboration with Picasso, Cocteau, Massine, Apollinaire and Diaghilev. In this context and after a weekend showing the constant interplay of tradition and innovation in Stravinsky’s work, “Mavra” was the ideal conclusion, savvily poised between nostalgia and modernity.

One of the best parts of the Bard festival is the opportunity to hear artists again and again. The tenor Nicholas Phan had committed presence and rich tone in both “Mavra” and “Balagan,” and the soprano Kiera Duffy was as incisive in “Pierrot Lunaire” on Sunday as she was on Friday in Stravinsky’s 1966 setting of “The Owl and the Pussycat.”

The baritone John Hancock made thorny works like “Abraham and Isaac” and “Pribaoutki” alluring; the soprano Lei Xu sang with clear tone and diction in songs by Delage and Stravinsky. A series of fine pianists included Lucille Chung and Alessio Bax, and on Saturday the young Dover Quartet played Glazunov’s “Five Novelettes” with calm command.

Next weekend brings Stravinsky from pre-World War II Paris to Los Angeles, his home after 1940. Chamber music will be well represented, with programs focusing on the music of the Machine Age, the circle of Eastern European expatriates in Paris and Stravinsky’s influence. One full-orchestra concert focuses on his American period and features a late masterpiece, the “Requiem Canticles”; the closing performance juxtaposes two stage works from the 1920s and ’30s on classical themes: “Perséphone” and “Oedipus Rex.”

An unlikely event this past weekend most richly suggested this daunting scope: a screening of R. O. Blechman’s 1984 animated film version of “The Soldier’s Tale,” with a live accompaniment conducted by Geoffrey McDonald. Mr. Blechman’s visual references stretch from peasant Russia to the space age, from Kandinsky to LPs — in other words, over the many decades of Stravinsky’s eventful life. Uproarious and affecting, the film is as mutable and insatiably imaginative as he was.