Solo Pianist - Diary entries
Many of the initial performance details listed here were compiled from Zarui Apetian’s important research, published in Literaturnoye Nasledie [Collected Literature] (Sovietskii Kompozitor: Moscow, 1980, vol. 3, pp. 439-467). These details have been subsequently cross-referenced and checked with the many itineraries and other corroborating materials, especially substantial research that identified precise program details, collected by Rachmaninoff’s sister-in-law, Sophia Satina, housed in the Rachmaninoff Archive of the Library of Congress, Washington, D.C (LoC, Sergei Rachmaninoff Archive, ML31.R22, Papers of Sophie Satin, boxes 82-89). Further information has been gathered from Barrie Martyn’s book Rachmaninoff: Composer, Pianist, Conductor (Scolar Press: London, 1990), A Catalogue of the Compositions of S. Rachmaninoff by Robert Threlfall and Geoffrey Norris (Scolar Press: London, 1982), and research undertaken at the Glinka Museum of Musical Culture, Moscow.
November 27 1885 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Keldysh notes (p. 34) that 'already in his first year of study at the conservatory, on November 27, 1885, he played at a student evening'. It is not indicated from which book of the Well-Tempered Klavier the prelude was taken. Without supplying a precise date, he further notes that in 1886 Rachmaninoff performed Henselt's D major Etude. Potentially also attributable to 1886, Keldysh (p. 28) notes a performance by Rachmaninoff of Bach's English Suite in A minor at the Conservatory in the presence of A. Rubinstein, highlighting an apparent inaccuracy of date in Bertensson and Leyda.
November 19 1886 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: The Russian National Museum of Music (formerly known as the Glinka Museum) has details of this concert. Whether the Prelude and Fugue is from Book I or II of the Well-Tempered Klavier is not stated.
November 2 1887 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Keldysh indicates (p. 34) that the first movement of the Beethoven sonata was played by Leonid Maximov.
December 4 1887 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Keldysh (p. 34) notes that works by Schulhoff and Moszkowski were played at this student concert. He further indicates (pp. 35-36) that in 1888 Rachmaninoff played a Prelude and Fugue in C sharp major of Bach and Rubinstein's Etude in F minor, and at the end of the year the first movement of Beethoven's Sonata in D major, op. 28, and Liszt's Ballade in B minor, but does not provide dates.
May 1888 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Threlfall and Norris list this performance (II/11). The work is mentioned in 'Rachmaninoff's Recollections' by Oskar von Riesemann, a facsimile of which the composer copied from memory for the book in 1931.
September 26 1892 (Julian calendar)
Rachmaninoff's role: Concerto Soloist and Solo Pianist
Notes: Satina indicates that this was the first performance of the Prelude in C sharp minor, op. 3, no. 2. The concert was the ‘18th Symphony Concert' at the Electrical Exhibit in Moscow. Satina notes the exact order of the program remains unknown, and that the details of works were copied from a review published in the journal ‘Artist’. In her 'reminiscence' of Rachmaninoff ('Vospominania'), Natalia - his wife - indicates that it was at this concert that she first heard him perform on the piano. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 28 1892 (Julian calendar)
Rachmaninoff's role: Solo Pianist and Chamber Musician
Notes: Satina references a photo of the program in Apetian, p. 89. The following short paragraph is included in Satina’s notes: “В письме к М.А. Слонову от 14 декабря 1892г. Рахманинов посылает ему программу концерта в Харькове, 28 декабря 1892г. В письме перечислены вещи, которые будут испольняться Рахманиновым. Не зная, повидимому, что будет петь Слонов, Рахманинов под номером 2 пишет в шутку: "Мишка Слонов доказывает земли вращение". Под номером 5: "Мишка Слонов доказывает всю несостоятельность доводов Деруледа в Панамской пертурбации." [“In a letter to M.A. Slonov from 14 December 1892 Rachmaninoff sends him the programme for the concert in Kharkiv, 28 December 1892. The letter lists all the works to be performed by Rachmaninoff. Not knowing, apparently, what Slonov was going to sing, Rachmaninoff writes under piece number 2 as a joke: "Mishka Slonov demonstrates the Earth's rotation". Under piece number 5: "Mishka Slonov proves all the inconsistencies in Deroulède's arguments relating to the Panama perturbation."] Threlfall and Norris identified this performance, along with details of the venue. Details regarding key and opus number for certain works are according to Martyn, although they were not known to Satina. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 27 1893 (Julian calendar)
Rachmaninoff's role: Solo Pianist and Chamber Musician
Notes: Satina indicates that Rachmaninoff’s Morceaux de fantaisie, op. 3, were repeated at the audiences request. Satina also notes that the details of this concert were copied from Apetian, p. 83-84. Further details regarding keys and opus numbers are according to Martyn, although Satina was unaware of these. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 29 1893 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: The Russian National Museum of Music (formerly known as the Glinka Museum) has details of a ‘Music and Literary Evening’ on this date, noting also two works for cello and piano by Glazunov. Keldysh (p. 81) notes that the concert was a musical and literary evening in favour of the fund for sanitary canteens at the Moscow Assembly of Doctors.
March 30 1893 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: The Russian National Museum of Music (formerly known as the Glinka Museum) has details of an ‘Evening Program’ on this date. Keldysh (p. 81) notes that the concert was a spring costume evening at the Bolshoi Theatre in support of the Society for Assistance to Needy Stage Artists.
April 3 1893 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: The Russian National Museum of Music (formerly known as the Glinka Museum) has details of a ‘Literature and Musical Evening, Beneficiary Concert’ on this date.
April 17 1893 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: The Russian National Museum of Music (formerly known as the Glinka Museum) has details of a ‘concert with reading’ on this date.
January 31 1894 (Julian calendar)
Rachmaninoff's role: Chamber Musician and Solo Pianist
Notes: Satina indicates that this was the first performance of Rachmaninoff’s op. 9, and the first performance of pieces from op. 10. Regarding Rachmaninoff’s piano works, Satina has added that the Elegy and Prelude from op. 3, and the Melody, Humorseque and Romance from op. 10 were performed, citing Apetian, p. 107. The concert would appear to be the first all-Rachmaninoff concert for the composer. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 7 1894 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: The Russian National Museum of Music (formerly known as the Glinka Museum) has details of a ‘mixed concert’ on this date.
February 21 1894 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina indicates that this incomplete program was from a concert in which Rachmaninoff also accompanied a singer. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 29 1894 (Julian calendar)
Rachmaninoff's role: Solo Pianist and Chamber Musician
Notes: The Russian National Museum of Music (formerly known as the Glinka Museum) has details of a ‘Music and Literary Evening’ on this date. The performance was not listed by Satina, however Keldysh (p. 91) confirms that it was the first performance of Rachmaninoff's op. 6.
November 7 1895 (Julian calendar)
Rachmaninoff's role: Solo Pianist and Chamber Musician
Notes: This concert was the first part of a tour with the violinist, Teresina Tua. Satina cites Apetian, p. 126, for the details of cities played on this tour. Rachmaninoff left the tour, according to Satina, in Smolensk on 24 November, and the Diary entry for that concert lists the further cities that were originally scheduled on the tour. The works performed with Tua have not been noted by Satina, although Martyn indicates that Beethoven's Kreutzer Sonata, and pieces by Vieuxtemps and Sarasate were played (p. 373). Martyn notes further solo piano pieces by Chopin, Liszt, Rubinstein and Arensky, while Keldysh (p. 95) provides further details. The order of the program (both solo and chamber works) is not known. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 9 1895 (Julian calendar)
Rachmaninoff's role: Solo Pianist and Chamber Musician
Notes: Satina indicates that this concert was part of a tour with the violinist, Teresina Tua. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 10 1895 (Julian calendar)
Rachmaninoff's role: Solo Pianist and Chamber Musician
Notes: Satina indicates that this concert was part of a tour with the violinist, Teresina Tua. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 12 1895 (Julian calendar)
Rachmaninoff's role: Solo Pianist and Chamber Musician
Notes: Satina indicates that this concert was part of a tour with the violinist, Teresina Tua. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 13 1895 (Julian calendar)
Rachmaninoff's role: Solo Pianist and Chamber Musician
Notes: Satina indicates that this concert was part of a tour with the violinist, Teresina Tua. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 15 1895 (Julian calendar)
Rachmaninoff's role: Solo Pianist and Chamber Musician
Notes: Satina indicates that this concert was part of a tour with the violinist, Teresina Tua. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 17 1895 (Julian calendar)
Rachmaninoff's role: Solo Pianist and Chamber Musician
Notes: Satina indicates that this concert was part of a tour with the violinist, Teresina Tua. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 18 1895 (Julian calendar)
Rachmaninoff's role: Solo Pianist and Chamber Musician
Notes: Satina indicates that this concert was part of a tour with the violinist, Teresina Tua. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 24 1895 (Julian calendar)
Rachmaninoff's role: Solo Pianist and Chamber Musician
Notes: Rachmaninoff left the tour with the violinist, Teresina Tua, according to Satina, after this concert. There were further concerts scheduled in Vitebsk, Liepāja, Vilnius, Daugavpils, Riga, Jelgava, Tartu, Talinn, St Petersburg, Pskov, and Nizhny Novgorod. Keldysh, however, indicated that Rachmaninoff continued on the tour as far as Riga (p. 98), yet he cited a review in which Rachmaninoff's piano playing is portrayed uncharacteristically (in particular for taking 'excessive liberties'). It seems plausible that a replacement pianist was found but program materials were not updated for the later concerts, yet this is countered by the Riga review noting the performance of two pieces from Rachmaninoff's op. 3. Regarding the concert in Smolensk, Keldysh quotes from a review noting Rachmaninoff's brilliant performance of Pabst's Concert Paraphrase on Eugene Onegin, and the strict adherence to the score in works by Chopin. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
April 19 1899
Rachmaninoff's role: Conductor and Solo Pianist
Notes: Satina notes that this was Rachmaninoff’s first appearance in England. The concert was the 3rd in the season of the Philharmonic Society of London. Satina indicates that the program was copied from the book ‘History of the Philharmonic Society of London: 1813-1912’, p. 462. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 14 1903
Rachmaninoff's role: Concerto Soloist and Solo Pianist
Notes: This concert was not listed by Satina, however a note regarding a concert in Vienna on January 9 indicated she was aware of its possibility. I am grateful to J. Falleyn for confirming the concert, and for supplying the translation of the attached review. The exact order of the program is at present unknown. Rachmaninoff played one of his Preludes as an encore, as noted in the review.
February 10 1903 (Julian calendar)
Rachmaninoff's role: Solo Pianist and Chamber Musician
Notes: Satina notes that this was a concert held under the auspices of the Ladies Committee for Prisoner Welfare. Satina cites Apetian, p. 221-222, as her reference. Threlfall and Norris note that this was the first performance of Rachmaninoff's op. 22. Keldysh (p. 205) indicates that N.I. Zabela-Vrubel sang some of Rachmaninoff's songs, along with Petrovna, which is supported by Martyn (p. 432), although the latter does not list the performance of Rachmaninoff's songs. Keldysh quotes from a review indicating that the Prelude in D major was played rather than the Prelude in B flat major. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 3 1903 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina indicates that Rachmaninoff included his Preludes in D minor and D major among the set. Keldysh (p. 205) notes only 5 preludes. Which concerto by Popper was played is not indicated. The concert began at 9pm. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 15 1903 (Julian calendar)
Rachmaninoff's role: Concerto Soloist and Solo Pianist
Notes: Satina notes that this was the 3rd concert in the season of Alexander Siloti. Satina also notes that this was the first performance of the works by Goedicke and Rimsky-Korsakov. Keldysh (p. 201 and p. 206) indicates that Rachmaninoff played three preludes from op. 23 as encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.