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.
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.
March 25 1923
Rachmaninoff's role: Solo Pianist
Notes: Satina indicated 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 indicated Liszt’s Sonetto del Petrarca (likely no. 104) was played in this concert, which is confirmed by the attached reviews. Chopin's Waltz in D flat major ('Minute'), op. 64, no. 1, is noted as an encore after the Chopin Sonata, and the third attached review indicates that Rachmaninoff's transcription of Kreisler's Liebesleid was played at the end of the recital. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 26 1923
Rachmaninoff's role: Solo Pianist
Notes: Satina indicates that in other venues where this program was played, the Chopin Polonaise was in E flat minor, op. 26, no. 2, and the Waltz was in F major, op. 34, no. 3. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 13 1923
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that the interval was placed between the works by Chopin and Liszt. Chopin's Waltz in D flat major ('Minute'), op. 64, no. 1, and a word by Tchaikovsky are noted as the encores in attached reviews. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 15 1923
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that the interval was placed between the works by Chopin and Liszt. She was unaware of the Wagner-Brassin work on this program, which is confirmed by the attached reviews and press clipping. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 19 1923
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that the interval was placed between the works by Chopin and Liszt. In addition, Satina believed that the program included a Chopin Waltz in A flat major, which the attached review indicates was given as an encore after the Chopin Scherzo. The review also indicates that the transcription of Mussorgsky's Hopak was repeated. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 23 1923
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that the interval was placed between the works by Chopin and Liszt. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 25 1923
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that the interval was placed between the works by Chopin and Liszt. The attached review notes there were five encores, although details are not given. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 27 1923
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that the interval was placed between the works by Chopin and Liszt. A Chopin Waltz in A flat major is noted as an encore after the Chopin Scherzo in the attached reviews, which also indicate that the transcription of Mussorgsky's Hopak was repeated. At the end of the concert, Chopin's Waltz in D flat major ('Minute'), op. 64, no. 1, and the Dohnányi Etude were given as encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 28 1923
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that the interval was placed between the works by Chopin and Liszt. A Chopin waltz is noted as an encore after the Chopin group in the attached reviews, while the transcription of Mussorgsky's Hopak was repeated. A further four encores followed at the close of the concert. As two of the reviews indicate, Rachmaninoff began the concert with God Save the King. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 30 1923
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that the interval was placed between the works by Chopin and Liszt. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 2 1923
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that the interval was placed between the works by Chopin and Liszt. Satina also writes that a laurel wreath was presented to Rachmaninoff from the Moscow Art Theatre ‘with love and admiration’. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 4 1923
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that the interval was placed between the works by Chopin and Liszt. The Prelude in C sharp minor, op. 3, no. 2, is noted among the encores in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 5 1923
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that the interval was placed between the works by Chopin and Liszt. The two attached press clippings confirm the date and location of this concert, however a review has so far not been located. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 11 1923
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that the interval was placed between the works by Chopin and Liszt. According to the first attached review, the Chopin nocturne was the one known as 'Tuberose', meaning op. 62, no. 1. The reviews notes a Chopin waltz was played as an encore after the Chopin group, while the Prelude in C sharp minor, op. 3, no. 2, was included among the encores at the end. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 12 1923
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that the interval was placed between the works by Chopin and Liszt. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 14 1924
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that the interval was placed between the works by Chopin and Liszt. The Prelude in C sharp minor, op. 3, no. 2, is noted as the first of the encores in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 15 1924
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that the interval was placed between the works by Chopin and Liszt. A Chopin waltz in A flat major is noted as an encore after the Chopin group, while the Prelude in C sharp minor, op. 3, no. 2, and Chopin's Waltz in D flat major ('Minute'), op. 64, no. 1, are noted as encores at the end in the attached reviews. The second attached review refers to the 'Waldteufel' Waltz at the end, likely in error. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 16 1924
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that the interval was placed between the works by Chopin and Liszt. Satina believed that the Strauss-Tausig 'Waltz' which ended this concert could have been either ‘Man lebt nur einmal’ or ‘Wahlstimmen’, however the attached review provides clarity. A Chopin waltz in A flat major is noted as an encore in the middle of the recital, while the Prelude in C sharp minor, op. 3, no. 2, is noted as the first of the encores at the end. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 24 1924
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that the interval was placed between the works by Chopin and Liszt. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 25 1924
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that the interval was placed between the works by Chopin and Liszt. Satina believed that the program at this concert included a waltz by Chopin in A flat major, which the attached review confirms was an encore given after the Chopin group. Rachmaninoff's Serenade, op. 3, no. 5, is noted as the first of the encores at the end of the recital. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 28 1924
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that the interval was placed between the works by Chopin and Liszt. The attached review indicates that a Chopin waltz was played as an encore after the Scherzo, and that encores at the end of the recital were Rachmaninoff's Serenade, op. 3, no. 5, Chopin's Waltz in D flat major ('Minute'), op. 64, no. 1, and Dohnányi's Etude. The transcription of Mussorgsky's Hopak was played twice. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 29 1924
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that the interval was placed between the works by Chopin and Liszt. The attached reviews note that Chopin's Waltzes in A flat major and D flat major ('Minute'), op. 64, no. 1, and Rachmaninoff's Serenade, op. 3, no. 5, and the Prelude in C sharp minor, op. 3, no. 2, were played as encores. The second review indicates that the transcription of Mussorgsky's Hopak was played twice. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 31 1924
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that works by Scriabin were played at the end of this recital, however the attached reviews and press clipping indicate that it closed with Liszt. A Chopin mazurka in C sharp is noted as an encore in the middle of the recital, while Tchaikovsky's Humoresque and Chopin's Waltz in D flat major ('Minute'), op. 64, no. 1, are noted as encores at the end of the recital. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 4 1924
Rachmaninoff's role: Solo Pianist
Notes: Satina indicates that the waltz by Strauss-Tausig could have been either ‘Man lebt nur einmal’ or ‘Wahlstimmen’, both of which featured in Rachmaninoff’s earlier programs. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.