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.
January 24 1923
Rachmaninoff's role: Solo Pianist
Notes: The first attached review refers to the Chopin Polonaise as 'Revolutionary', perhaps meaning the Polonaise in A flat major, op. 53. The second attached review notes the encore as being Rachmaninoff's arrangement of a work by Chopin, presumably in error. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 26 1923
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 28 1923
Rachmaninoff's role: Solo Pianist
Notes: As the second attached press clipping indicates, a concert the following night in El Paso was cancelled. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 31 1923
Rachmaninoff's role: Solo Pianist
Notes: Satina indicates that in other venues where this program was played, the Chopin Nocturne was in F sharp major, op. 15, no. 2, and the Waltz was in F major, op. 34, no. 3. Satina wondered if Liszt’s Sonetto del Petrarca (likely no. 104) was played in this concert, however it is difficult to ascertain from the brief review. A Chopin waltz is noted as an encore after the Sonata, while two unnamed encores were given at the end. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 1 1923
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that at this concert ‘the Chopin Nocturne was in F sharp major, op. 15, no. 2, and the Waltz was in D flat major (either op. 70, no. 3, or op. 64, no. 1)’. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 2 1923
Rachmaninoff's role: Solo Pianist
Notes: Satina writes: ‘This program is incomplete. The copy sent to us contained several errors and it should be checked.’ The attached reviews only partially clarify the situation: the keys of the Chopin Nocturne and Waltz are unclear, and it might be surmised that Liszt's Second Hungarian Rhapsody and Rachmaninoff's transcription of Kreisler's Liebesleid were played as encores. It is possible, based on a comment in the third attached review, that a Chopin etude was played as an encore after the Sonata. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 4 1923
Rachmaninoff's role: Solo Pianist
Notes: The attached reviews indicate that a second Chopin waltz was played, perhaps as an encore: it is given the key of F sharp major, but is referred to as 'brillante', likely indicating the Waltz in E flat major, op. 18. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 7 1923
Rachmaninoff's role: Solo Pianist
Notes: Satina wondered whether Liszt’s Sonetto del Petrarca was played in this concert, but as the attached press clipping and reviews indicate it was changed at the last minute for the D flat major Etude. The second attached review indicates that Chopin's Waltz in D flat major ('Minute'), op. 64, no. 1, was played as an encore after the Sonata, while the first review indicates that Rachmaninoff's transcriptions of Bizet's Minuet and Kreisler's Liebesleid were played at the end of the recital. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 8 1923
Rachmaninoff's role: Solo Pianist
Notes: The attached review indicates that the encores were Mendelssohn's Spinning Song, Chopin's Waltz in D flat major ('Minute'), op. 64, no. 1, Schulz-Evler's 'Arabesques' on Strauss' Blue Danube, and the Prelude in C sharp minor, op. 3, no. 2. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 12 1923
Rachmaninoff's role: Solo Pianist
Notes: The attached review indicates that Rachmaninoff's Polichinelle, op. 3, no. 4, and his transcription of Kreisler's Liebesleid were 'supplemented' to the program, which appears to mean they were added as encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 14 1923
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that Spinning Song was not mentioned in the review she had been sent. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 15 1923
Rachmaninoff's role: Solo Pianist
Notes: Satina wrote in her notes: ‘This program is incomplete and full of mistakes. The names of the composers were added by us.’ No review has so far been located, however other programs of this time likely give an indication of the pieces played and their general order. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 19 1923
Rachmaninoff's role: Solo Pianist
Notes: Satina was unaware that Rachmaninoff's Polichinelle, op. 3, no. 4, was also included on the program. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 21 1923
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that Liszt's Etude in A flat major was played at this recital, however the attached review and press clipping indicate it was the Sonetto. In other venues where this program was played, the Chopin Nocturne was in F sharp major, op. 15, no. 2, and the Waltz was in F major, op. 34, no. 3. The attached review indicates that a Chopin waltz was played as an encore. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 23 1923
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that the keys for the Chopin works were not given in the review, however they were listed in four other venues at which Rachmaninoff performed the same program and, therefore, have been added here. The attached review indicates that a Chopin waltz was played as an encore after the Chopin group, and that the transcription of Kreisler's Liebesleid was added at the end. The reviewer claims that Rachmaninoff omitted a section of the final march from Schumann's Carnaval, stating he played 'only the last page'. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 25 1923
Rachmaninoff's role: Solo Pianist
Notes: Satina recorded this date but appears to have neglected listing a program for the concert. Unfortunately, the review does not provide specific details, although it does note that Chaliapin, Rachmaninoff's dear friend, was in the audience. LoC, Sergei Rachmaninoff Archive, L31.R33, Papers of Sophie Satin, boxes 82-89.
February 26 1923
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that the keys for the Chopin works were not given in the review, however they were listed in four other venues at which Rachmaninoff performed the same program and, therefore, have been added here. The first attached press clipping confirms the program Satina listed. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 3 1923
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 4 1923
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 5 1923
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that a Liszt etude was played in this recital, however it is not listed in the pre-concert press clipping that is attached nor in the reviews. In other venues where similar programs were played, the Nocturne was in F sharp major, op. 15, no. 2, and the Waltz was in F major, op. 34, no. 3. The encores are noted as lasting half an hour in the first attached press clipping, while the second review notes the Prelude in C sharp minor, op. 3, no. 2, as the penultimate one. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 7 1923
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that the review of this concert she had been sent mentioned only 3 pieces by Chopin, and did not mention an Etude-Tableau by Rachmaninoff. As the attached review and press clipping indicate, the Prelude in C sharp minor, op. 3, no. 2, had been programmed in place of the Etude-Tableau, while all Chopin numbers are listed. Moszkowski's La jongleuse is noted as the encore. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 8 1923
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 9 1923
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 10 1923
Rachmaninoff's role: Solo Pianist
Notes: The attached review mentions the performance of Rachmaninoff's Prelude in G sharp minor, although it also indicates the Prelude in C sharp minor, op. 3, no. 2, was played as an encore and not as a programmed number, as recorded by Satina. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 11 1923
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that a Liszt Etude in A flat major was played at this concert, which could accord with Martyn (p. 426), who indicated that the Concert Etude no. 1 ‘Il lamento’ was played at this time. However, the attached review indicates the etude was in D flat major. In other venues where this program was played, the Chopin Polonaise was often in E flat minor, op. 26, no. 2, the Nocturne was in F sharp major, op. 15, no. 2, and the Waltz was in F major, op. 34, no. 3. Satina noted that ‘the first 2 numbers are not mentioned’, presumably referring to a review of this concert she had been sent, which could be the same as the one attached which also omits mention of Medtner and Weber. The Prelude in C sharp minor, op. 3, no. 2, is mentioned, however it is not clear whether it was played and, if so, whether it was an encore. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 13 1923
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that the review of the concert she had been sent referred only to a ‘group of Chopin pieces’, however the second attached press clipping offers more detail. Satina was unaware of the Medtner work on the program. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 19 1923
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 20 1923
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that the Paganini-Liszt was not mentioned in the review she had been sent, and neither is it mentioned in the one attached. Encores given were Weber's Rondo Brillante, op. 62, Chopin's Waltz in D flat major ('Minute'), op. 64, no. 1, Rachmaninoff's Barcarolle, op. 10, no. 3, and the transcription of Kreisler's Liebesleid. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 21 1923
Rachmaninoff's role: Solo Pianist
Notes: Satina noted the slight variation in this program, with the Polichinelle replacing an Etude-Tableau and the Minuet transcription that featured in other recitals around this time. The second attached review, in noting the disappointment the Etude-Tableau wasn't played (the 'last' he had written, perhaps suggesting op. 39, no. 9), indicates the placement of the Polichinelle, however it does not refer to the Bizet-Rachmaninoff Minuet. Chopin's Waltz in D flat major ('Minute'), op. 64, no. 1, is noted as an encore at the end of the Chopin group, while the transcription of Kreisler's Liebesleid and Moszkowski's La jongleuse are indicated as the encores at the close of the recital. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 24 1923
Rachmaninoff's role: Solo Pianist
Notes: Satina indicated the details of the works by Chopin, however they did not appear in the Carnegie Hall program nor are they mentioned in the reviews. She noted the Prelude in C sharp minor, op. 3, no. 2, was played among numerous other encores. The attached review notes Chopin's Waltz in D flat major ('Minute'), op. 64, no. 1, which perhaps also was given as an encore. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.