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.
October 18 1928
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 19 1928
Rachmaninoff's role: Solo Pianist
Notes: The Scarlatti Sonata in D minor was presumably L. 413, which he recorded. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 22 1928
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that a Chopin Nocturne appears to have been played as an encore at this concert. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 23 1928
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 25 1928
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 29 1928
Rachmaninoff's role: Solo Pianist
Notes: Satina indicates that the pieces by Liszt were not mentioned in the reviews she received for this concert and the following concert in Amsterdam, but suspects that the works were played. The Scarlatti Sonata in D minor was presumably L. 413, which he recorded. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 30 1928
Rachmaninoff's role: Solo Pianist
Notes: Satina indicates that the pieces by Liszt were not mentioned in the reviews she received for this concert or for the preceding concert in The Hague, but suspects that the works were played. The Scarlatti Sonata in D minor was presumably L. 413, which he recorded. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 9 1928
Rachmaninoff's role: Solo Pianist
Notes: Satina indicates that the keys of the Preludes by Rachmaninoff were not stated in the program, but she believes that they would be the same as in other cities where this program was played. However, it is worth observing the slight change in the program in Paris on December 2. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 24 1928
Rachmaninoff's role: Solo Pianist
Notes: Satina indicates that the keys of the Preludes by Rachmaninoff were not stated in the program, but she believes that they would be the same as in other cities where this program was played. However, it is worth observing the slight change in the program in Paris on December 2. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 27 1928
Rachmaninoff's role: Solo Pianist
Notes: No details, although Satina notes her understanding that works by Bach, Chopin and Liszt were played. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 2 1928
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 13 1929
Rachmaninoff's role: Solo Pianist
Notes: It is likely that the key for the Chopin work was the same as performed in the same program in Cleveland, Boston and New York. Satina noted that the Schumann was not mentioned in the review of this concert she had been sent, ‘probably by mistake’. The Scarlatti Sonata in D minor was presumably L. 413, which he recorded. Rachmaninoff's transcription of Kreisler's Liebesleid and the Prelude in G minor, op. 23, no. 5 are noted as the encores in the third attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 15 1929
Rachmaninoff's role: Solo Pianist
Notes: It is likely that the key for the Chopin work was the same as performed in the same program in Cleveland, Boston and New York. The Scarlatti Sonata in D minor was presumably L. 413, which he recorded. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 23 1929
Rachmaninoff's role: Solo Pianist
Notes: The Scarlatti Sonata in D minor was presumably L. 413, which he recorded. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 25 1929
Rachmaninoff's role: Solo Pianist
Notes: Satina wondered whether, based on a review she had been sent, Rachmaninoff played Schumann’s Papillons in this concert, however the attached review confirms the program. The Scarlatti Sonata in D minor was presumably L. 413, which he recorded. The Prelude in C sharp minor, op. 3, no. 2, is noted as one of three encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 27 1929
Rachmaninoff's role: Solo Pianist
Notes: The Scarlatti Sonata in D minor was presumably L. 413, which he recorded. The Prelude in C sharp minor, op. 3, no. 2, is noted as the encore in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 3 1929
Rachmaninoff's role: Solo Pianist
Notes: Rachmaninoff's transcription of Kreisler's Liebesleid is noted among the encores in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 5 1929
Rachmaninoff's role: Solo Pianist
Notes: It is likely that the keys for the Chopin works were the same as performed in the same program in Cleveland, Boston and New York. The Scarlatti Sonata in D minor was presumably L. 413, which he recorded. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 8 1929
Rachmaninoff's role: Solo Pianist
Notes: It is likely that the keys for the Chopin works were the same as performed in the same program in Cleveland, Boston and New York. The Scarlatti Sonata in D minor was presumably L. 413, which he recorded. The attached review notes the encores as Rachmaninoff's transcription of Kreisler's Liebesleid, 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 10 1929
Rachmaninoff's role: Solo Pianist
Notes: It is likely that the keys for the Chopin works were the same as performed in the same program in Cleveland, Boston and New York. The Scarlatti Sonata in D minor was presumably L. 413, which he recorded. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 11 1929
Rachmaninoff's role: Solo Pianist
Notes: It is likely that the keys for the Chopin works were the same as performed in the same program in Cleveland, Boston and New York. The Scarlatti Sonata in D minor was presumably L. 413, which he recorded. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 13 1929
Rachmaninoff's role: Solo Pianist
Notes: While the attached image of the program refers to 'Sonata no. 14' by Mozart, this is presumed to be a misprint as the tempo indication for the final movement clearly relates to the Sonata in D major. A similar error appears to have occurred at the concert in New York on February 16. The Scarlatti Sonata in D minor was presumably L. 413, which he recorded. As the attached review notes, the Prelude in C sharp minor, op. 3, no. 2, replaced the Moment musical, op. 16, advertised in the press. Rachmaninoff's transcription of Rimsky-Korsakov's Bumble Bee and Tchaikovsky's Troika are noted as the encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 15 1929
Rachmaninoff's role: Solo Pianist
Notes: It is likely that the keys for the Chopin works were the same as performed in the same program in Cleveland, Boston and New York. The Scarlatti Sonata in D minor was presumably L. 413, which he recorded. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 16 1929
Rachmaninoff's role: Solo Pianist
Notes: As with the concert in Ann Arbor, MI, on February 13, the program appears to have included a misprint: while referencing 'Sonata no. 14' (C minor, K. 457), the tempo indications for the movements match the Sonata in D major, K. 576 (no. 18 in Mozart's catalogue). Neither Martyn or Apetian have identified the Sonata in C minor as being in Rachmaninoff's repertoire, and all of Satina's references to the Sonata in D major from this season appear without any indication of doubt. The Scarlatti Sonata in D minor was presumably L. 413, which he recorded. The attached image of the program appears with kind permission of the Carnegie Hall Rose Archives. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 22 1929
Rachmaninoff's role: Solo Pianist
Notes: Satina notes the word ‘manuscript’ for the piece by Medtner, likely indicating that it was unpublished at the time. The attached review lists the program which does not, however, include the works by Debussy or Scriabin. Rachmaninoff's transcription of Rimsky-Korsakov's Bumble Bee and the Prelude in C sharp minor, op. 3, no. 2, are noted as the encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 25 1929
Rachmaninoff's role: Solo Pianist
Notes: Satina notes the word ‘manuscript’ for the piece by Medtner, likely indicating that it was unpublished at the time. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 26 1929
Rachmaninoff's role: Solo Pianist
Notes: Satina notes the word ‘manuscript’ for the piece by Medtner, likely indicating that it was unpublished at the time. The second of the attached reviews notes the encores as being Tchaikovsky's Troika, the Prelude in C sharp minor, op. 3, no. 2, and Rachmaninoff's transcription of Kreisler's Liebesleid. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 27 1929
Rachmaninoff's role: Solo Pianist
Notes: Satina notes the word ‘manuscript’ for the piece by Medtner, likely indicating that it was unpublished at the time. The Prelude in C sharp minor, op. 3, no. 2, is noted as the last of four encores in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 28 1929
Rachmaninoff's role: Solo Pianist
Notes: Satina notes the word ‘manuscript’ for the piece by Medtner, likely indicating that it was unpublished at the time. Rachmaninoff's transcription of Kreisler's Liebesleid, Tchaikovsky's Troika, and the Prelude in C sharp minor, op. 3, no. 2, are noted as the encores in the second attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 3 1929
Rachmaninoff's role: Solo Pianist
Notes: Satina indicates that this concert began at 2.30pm. Satina notes the word ‘manuscript’ for the piece by Medtner, likely indicating that it was unpublished at the time. 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.