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 23 1925
Rachmaninoff's role: Solo Pianist
Notes: Two Chopin waltzes are noted among the encores in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 27 1925
Rachmaninoff's role: Solo Pianist
Notes: Satina believed the Chopin etude was likely in E major, op. 10, no. 3. A Chopin waltz in A flat major is noted among three encores in the second attached review, which also indicates slight changes to the order of the program. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 28 1925
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 30 1925
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that the Chopin etude was likely in E major, op. 10, no. 3, and that the Prelude in C sharp minor, op. 3, no. 2, was played. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 31 1925
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that the Chopin etude was likely in E major, op. 10, no. 3, which is perhaps confirmed by attached review comments. Encores are noted as Chopin Waltzes, op. 64, no. 2, and op. 64, no. 3, and Rachmaninoff's transcription of Mussorgsky's Hopak. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 29 1925
Rachmaninoff's role: Solo Pianist
Notes: Martyn (p. 434) indicates that the Schubert Impromptu was D. 899, no. 4. Satina noted that this concert marked the first performance of Rachmaninoff’s transcriptions of the works by Schubert and Kreisler. While no review or press notice has been found for this concert (apart from the smallest reference in a society column, attached), it might be speculated that four pieces from Bach's Partita were played, as they were at the following concert, before the Allemande was dropped from most subsequent performances of the program. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 2 1925
Rachmaninoff's role: Solo Pianist
Notes: Martyn (p. 434) indicates that the Schubert Impromptu was D. 899, no. 4. While in most following concerts only three pieces from the Bach Partita are noted in reviews and advance press notices, the attached review indicates that the Allemande was also played here. A Chopin mazurka was added as a final encore after the Sonata. The reviewer notes Rubinstein's transcription of the Turkish March from Beethoven's Ruins of Athens as an encore and, perhaps mistaking Mussorgsky's Hopak, also claims a work by Percy Grainger was played. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 3 1925
Rachmaninoff's role: Solo Pianist
Notes: Martyn (p. 434) indicates that the Schubert Impromptu was D. 899, no. 4. Satina indicated that Schubert’s Impromptu and Medtner’s Fairy Tale were not mentioned in the review she had been sent, and that Rachmaninoff’s Prelude in C sharp minor, op. 3, no. 2, was not on the program. The attached review confirms the works by Schubert and Medtner, and also notes the encores as being Rubinstein's transcription of the Turkish March from Beethoven's Ruins of Athens and Rachmaninoff's transcription of Mussorgsky's Hopak. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 5 1925
Rachmaninoff's role: Solo Pianist
Notes: Martyn (p. 434) indicates that the Schubert Impromptu was D. 899, no. 4. Tchaikovsky's Troika and Rubinstein's transcription of the Turkish March from Beethoven's Ruins of Athens are noted as encores in the first attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 8 1925
Rachmaninoff's role: Solo Pianist
Notes: Martyn (p. 434) indicates that the Schubert Impromptu was D. 899, no. 4. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 10 1925
Rachmaninoff's role: Solo Pianist
Notes: Martyn (p. 434) indicates that the Schubert Impromptu was D. 899, no. 4. While only three pieces from Bach's Partita were performed at later concerts (based on both advance program announcements and reviews), the attached press clipping indicates that the Allemande was also announced for this concert. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 11 1925
Rachmaninoff's role: Solo Pianist
Notes: Martyn (p. 434) indicates that the Schubert Impromptu was D. 899, no. 4. Satina indicated that the Sonata by Chopin was not mentioned in the review of this concert she had been sent, however it is noted in both of those attached. A Mazurka in A minor by Chopin, Rubinstein's transcription of the Turkish March from Beethoven's Ruins of Athens, and Tchaikovsky's Troika are noted as the encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 12 1925
Rachmaninoff's role: Solo Pianist
Notes: Martyn (p. 434) indicates that the Schubert Impromptu was D. 899, no. 4. Satina indicated that Schubert’s Impromptu and Medtner’s Fairy Tale were not mentioned in the review she had been sent. She believed that Rachmaninoff’s Prelude in C sharp minor, op. 3, no. 2, was perhaps not on the program, however the attached press clipping indicates - perhaps hopefully - that it would be. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 16 1925
Rachmaninoff's role: Solo Pianist
Notes: Martyn (p. 434) indicates that the Schubert Impromptu was D. 899, no. 4. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 17 1925
Rachmaninoff's role: Solo Pianist
Notes: Martyn (p. 434) indicates that the Schubert Impromptu was D. 899, no. 4. Satina indicated a possibility that this concert could have taken place on the 15th, according to her notes, however the attached press clippings indicate it took place on this date. No review has so far been located, however. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 19 1925
Rachmaninoff's role: Solo Pianist
Notes: Martyn (p. 434) indicates that the Schubert Impromptu was D. 899, no. 4. Tchaikovsky's Troika and Rubinstein's transcription of the Turkish March from Beethoven's Ruins of Athens are noted as two of the three encores in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 20 1925
Rachmaninoff's role: Solo Pianist
Notes: Martyn (p. 434) indicates that the Schubert Impromptu was D. 899, no. 4. Two of the attached reviews perhaps indicate that only two pieces from Bach's Partita were played, however it is not entirely clear. A Chopin mazurka is noted as an encore after the B minor Sonata. Encores at the end of the recital, according to the second attached review, were Tchaikovsky's Troika, Rubinstein's transcription of the Turkish March from Beethoven's Ruins of Athens, and Rachmaninoff's transcription of Mussorgsky's Hopak. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 22 1925
Rachmaninoff's role: Solo Pianist
Notes: Martyn (p. 434) indicates that the Schubert Impromptu was D. 899, no. 4. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 23 1925
Rachmaninoff's role: Solo Pianist
Notes: Martyn (p. 434) indicates that the Schubert Impromptu was D. 899, no. 4. Satina indicated that the program she had received was incomplete, however the attached review confirms the works she had listed. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 24 1925
Rachmaninoff's role: Solo Pianist
Notes: Martyn (p. 434) indicates that the Schubert Impromptu was D. 899, no. 4. Tchaikovsky's Troika and Rubinstein's transcription of the Turkish March from Beethoven's Ruins of Athens are noted as the encores in the third attached review. The second attached review states that Rachmaninoff was suffering from neuritis at this concert, and that some later concerts were cancelled. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 29 1925
Rachmaninoff's role: Solo Pianist
Notes: Martyn (p. 434) indicates that the Schubert Impromptu was D. 899, no. 4. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 30 1925
Rachmaninoff's role: Solo Pianist
Notes: Martyn (p. 434) indicates that the Schubert Impromptu was D. 899, no. 4. Rubinstein's transcription of the Turkish March from Beethoven's Ruins of Athens is noted as the second of two encores in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 2 1925
Rachmaninoff's role: Solo Pianist
Notes: Martyn (p. 434) indicates that the Schubert Impromptu was D. 899, no. 4. Tchaikovsky's Troika and Rubinstein's transcription of the Turkish March from Beethoven's Ruins of Athens are noted as the encores in the attached reviews. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 3 1925
Rachmaninoff's role: Solo Pianist
Notes: Martyn (p. 434) indicates that the Schubert Impromptu was D. 899, no. 4. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 4 1925
Rachmaninoff's role: Solo Pianist
Notes: Martyn (p. 434) indicates that the Schubert Impromptu was D. 899, no. 4. It is noted in the attached reviews that Rachmaninoff played an encore prior to intermission, a mazurka by Chopin in A minor. Encores are also noted at the end of the recital, while it is not clear if the Prelude in C sharp minor, op. 3, no. 2, was among these or one of the programmed numbers. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 9 1925
Rachmaninoff's role: Solo Pianist
Notes: Martyn (p. 434) indicates that the Schubert Impromptu was D. 899, no. 4. Satina indicated that Rachmaninoff’s Prelude in C sharp minor, op. 3, no. 2, was on the program for this concert, which is confirmed in the attached review. The encores are noted as Tchaikovsky's Troika, Rubinstein's transcription of the Turkish March from Beethoven's Ruins of Athens, and Rachmaninoff's transcription of Mussorgsky' Hopak. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 11 1925
Rachmaninoff's role: Solo Pianist
Notes: Martyn (p. 434) indicates that the Schubert Impromptu was D. 899, no. 4. A note in a press clipping from the Toronto Star appears to indicate that Rachmaninoff had played his Prelude in G minor, op. 23, no. 5, at this recital. Three encores are noted in the attached review, including Rubinstein's transcription of the Turkish March from Beethoven's Ruins of Athens. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 20 1927
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that the keys for the works by Chopin were not given in the review of this concert she had been sent, but she has presumed them to be the same as other performances on this tour. Two encores are noted in the attached review, but their details are not given. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 21 1927
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that the keys for the works by Chopin were not given in the review she had been sent of this concert, but that she has presumed them to be the same as other performances of the program. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 23 1927
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that according to a review she had been sent Rachmaninoff played the Chopin Nocturne in D flat major, and that Rachmaninoff’s Prelude was in G major, op. 32, no. 5. The Prelude in C sharp minor, op. 3, no. 2, is noted as the last of the encores in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.