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 7 1907 (Julian Calendar)
Rachmaninoff's role: Concerto Soloist and Solo Pianist
Notes: Satina has added this date in pencil, apparently as a consequence of a reference in materials of Zarui Apetian. Satina notes: ‘see Warsavsky Dnevnik, November 9, 1907, no. 309. Article by Zataevich, Apetian p. 339’. Satina indicates that Rachmaninoff had incorrectly identified the date of this concert as being in 1908, referring to his new ‘book’ for recording details of his concert activity. Zataevich's review indicates that as well as playing the Prelude in C sharp minor, op. 3, no. 2, after the concerto, at the end of the concert he played three more Preludes, including the one in G flat major, op. 23, no. 10. Keldysh (p. 283) refers to this concert according to the Julian calendar, as with the date of the review he cites. In the Gregorian Calendar, this date was November 20. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 7 1908
Rachmaninoff's role: Concerto Soloist and Solo Pianist
Notes: Satina indicated her belief that Rachmaninoff also played solos in this concert, and speculated that these works were likely from op. 3 and op. 23. I am grateful to J. Falleyn for the translation of the attached review, which confirms the performance of a number of Preludes (including op. 23, no. 3, op. 23, no. 5, and finally op. 3, no. 2, as an encore). LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 4 1909 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: This was likely the first performance by Rachmaninoff of his First Piano Sonata, which Threlfall and Norris (citing Oskar von Riesemann) indicate occurred at the Moscow Conservatory. The Sonata had first been performed by Konstantin Igumnov. Satina notes that this was the 2nd Chamber Music Concert of the Quartet of the Imperial Russian Music Society in Moscow. A review by Grigory Prokofiev in the Russkoi Muzikalnoi Gazeti indicates the keys of the three Preludes. Vladimir Bakaleinikov, the violist in the quartet, would later conduct concerts in America with Rachmaninoff. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 7 1909 (Julian calendar)
Rachmaninoff's role: Chamber Musician and Solo Pianist
Notes: Satina notes that this was Alexander Siloti’s 3rd Chamber Music Concert of the season. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 4 1909
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that this was the first appearance of Rachmaninoff in the USA. Precise details of keys were not given, hence it is not possible to determine whether the Prelude in ‘D’ is op. 23 no. 3 or 4. Satina notes that ‘the Mason and Hamlin piano was used’, as was also noted for some other venues on this tour. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 16 1909
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that this concert commenced at 2.30pm. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 18 1909
Rachmaninoff's role: Concert Soloist and Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 20 1909
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that the keys of the first two preludes were not actually given in a review she had been sent, and that she had copied them from similar programs in Boston, Pittsburgh and Chicago. Her intuition was correct, as a copy of the program in the Carnegie Hall archive documents the keys of the preludes. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 27 1909
Rachmaninoff's role: Conductor and Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 26 1909
Rachmaninoff's role: Conductor and Solo Pianist
Notes: While the attached review does not mention Tchaikovsky's 1812, nor Karl Pohlig, the complete program is printed in the attached press clipping. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89. Review: Philadelphia Inquirer 1909.11.27 p. 15.
December 9 1909
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 26 1909
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 3 1910
Rachmaninoff's role: Solo Pianist and Chamber Musician
Notes: Apetian identified a program for this concert, indicating that it was the same as for Boston on January 10 but without the D minor Sonata. The attached press clipping names the artists and location (misidentified by Satina as the Hotel Astoria), but provides no details about the musical works. It is not known if Rachmaninoff also accompanied singers in his songs, as Satina and Apetian both believed. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 9 1910
Rachmaninoff's role: Solo Pianist and Chamber Musician
Notes: Satina noted that this was a ‘Grand Sunday Concert’, and that other singers also performed with the Metropolitan Opera Orchestra. According to Apetian, one of the songs was Spring Waters, op. 14. The first attached review indicates that Adamo Didur also sang two songs by Rachmaninoff, while the second review appears to indicate otherwise. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 10 1910
Rachmaninoff's role: Solo Pianist
Notes: Satina identified the location of this concert but was unable to identify a program. Apetian indicated that for this concert and for the concert in New York on January 3 the program comprised his usual solo works from concerts of the time, excepting the D minor Sonata, 'but with the addition of two romances by Rachmaninoff, in particular Spring Waters from op. 14.' However, this appears to be incorrect, as the attached review does not include songs by Rachmaninoff. According to the attached press clipping, Rider-Kelsey and Grimson were both accompanied in their repertoire by Jessie Davis. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89. Review: Boston Journal 1910.01.11 p. 14.
February 13 1910 (Julian calendar)
Rachmaninoff's role: Concerto Soloist and Solo Pianist
Notes: The Liszt Hungarian Rhapsody is perhaps the orchestration of Hungarian Rhapsody no. 14 for piano. Satina notes that the Prelude was performed as an encore. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 12 1910
Rachmaninoff's role: Concerto Soloist and Solo Pianist
Notes: Satina notes that this concert was part of the Leeds Festival. The attached review indicates that the Prelude in C sharp minor, op. 3, no. 2, was played as an encore after the Concerto. The image of the Leeds Mercury is used with kind permission of The British Library Board. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 11 1910
Rachmaninoff's role: Concerto Soloist and Solo Pianist
Notes: When Rachmaninoff played this concert, the city was known as Königsberg, Germany, and adhered to the Gregorian calendar. I am grateful to J. Falleyn for his translation of the attached review, which appeared in the Königsberger Hartungsche Zeitung the day after the concert. According to the review, the Prelude in C sharp minor, op. 3, no. 2, and two Preludes from the op. 23 set, were played as encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 23 1910
Rachmaninoff's role: Concerto Soloist and Solo Pianist
Notes: According to a review in the Neuester Anzeiger on November 24, Rachmaninoff played three of his Preludes as well as the concerto.
December 17 1910 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina records that, perhaps surprisingly given his concert career to date, this is the first complete solo recital given by Rachmaninoff in Russia. She was unable to provide other details of works on the program, but the concert three days later in Nizhny Novgorod likely offers a clue. Zarui Apetian believed that this concert occurred on December 19 (Julian), and that the Songs, op. 26, were also performed. It could be that there were two separate concerts. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 20 1910 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that this was the 5th concert of the season of the Imperial Russian Music Society. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 24 1911 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: It could be presumed that other solo works by Rachmaninoff were included. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 27 1911 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Keldysh (p. 337) indicates that in addition to the sonata, some of the preludes from op. 32 were given for the first time, along with other small works. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 27 1911 (Julian Calendar)
Rachmaninoff's role: Concerto Soloist and Solo Pianist
Notes: When Rachmaninoff performed in this city it was known as Helsingfors. As part of the Grand Duchy of Finland at the time, the city was under Russian rule and adhered to the Julian Calendar; in the Western Calendar, the date of the concert was February 14. I am grateful to J. Falleyn for the translation of the attached review, which appeared in the Hufvudtadsbladet the day after the concert. According to the review, Rachmaninoff performed his Prelude in G minor, op. 23, no. 5, the Barcarolle, op. 10, no. 3, and the then-unpublished Prelude in G sharp minor, op. 32, no. 12, as encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 18 1911
Rachmaninoff's role: Solo Pianist and Chamber Musician
Notes: Satina notes that her information for this concert in the Felix Corbett series was sent to her by Mr J. Tillet. Satina further notes that in Rachmaninoff’s notebook he wrote that he played ‘only 2 piano solos’, but in a later typewritten comment pondered that it was ‘possible he meant he appeared twice’. While Satina noted the Schubert she didn't indicate Rachmaninoff's participation, yet from a review in the Teeside Weekly Herald from October 21 it is apparent that the performance of Schubert's Rondo in B minor for violin and piano was performed by him with Fritz Kreisler, which would seem to be both the first time the two played together, and the only known time they did so in a public concert. The exact order of the program is not known, and difficult to determine from the review, which also notes the Prelude in C sharp minor, op. 3, no. 2, was repeated as an encore. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 19 1911
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that the Preludes from op. 32 were at the time still not published, and notes ‘first time’ regarding them. Satina also indicates that this was a concert for a Chamber Music Society, the information about which was sent to her by Mr J. Tillett. There is a further comment that ‘the program contained also some songs’, yet it is not clear whether they were by Rachmaninoff, or who performed them. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 21 1911
Rachmaninoff's role: Solo Pianist
Notes: Satina was unable to find details for this concert, however the program can be reconstructed from the attached reviews. They note that Rachmaninoff's Prelude in C sharp minor, op. 3, no. 2, was repeated as an encore. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89. The images of the Evening Post and the Dundee Courier are used with kind permission of The British Library Board.
November 1 1911
Rachmaninoff's role: Solo Pianist
Notes: Satina had no details of this concert, apart from noting that in Rachmaninoff’s notebook he wrote ‘few piano pieces.’ The attached review from Hull Daily Mail indicates that it was a mixed concert with other musicians also performing, the details of whom are indicated in the second attached press clipping. The Prelude in C sharp minor, op. 3, no. 2, is noted as the encore in the attached reviews. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 4 1911
Rachmaninoff's role: Solo Pianist
Notes: Satina had no details for this concert, apart from indicating that in Rachmaninoff’s notebook he had written a ‘few piano pieces.’ The details of his own works are taken from the attached review, which mentions the other works on the program. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 7, 1911
Rachmaninoff's role: Concerto Soloist and Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.