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.
April 5 1930
Rachmaninoff's role: Solo Pianist
Notes: The attached review indicates that a 'half dozen' encores were played, however they are not named. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 25 1930
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 28 1930
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that in this concert only 3 Etudes-Tableaux were played, but their keys are not known. The details given here accord with other venues where Rachmaninoff played this program, although it could be that the three were the same as played at The Hague on November 5. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 5 1930
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 8 1930
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that in this concert only three Etudes-Tableaux were played, but their keys are not known. It could be that the program matched that given in The Hague on November 5. The attached review confirms that only 3 were played, but also makes reference to a different work by Liszt (Abendklänge, i.e., Harmonies du soir). LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 12 1930
Rachmaninoff's role: Solo Pianist
Notes: While five Etudes-Tableaux, op. 33, were programmed, as with other concerts in this season, the attached reviews indicate only three were played. As keys were not given, it is unclear which of those in F minor, E flat minor, E flat major, G minor and C sharp minor, were left out. Rachmaninoff's Prelude in C sharp minor, op. 3, no. 2, and his transcription of Mussorgsky's Hopak are noted as the encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 15 1930
Rachmaninoff's role: Solo Pianist
Notes: 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.
November 18 1930
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that five Etudes-Tabelaux were programmed, however the attached review refers to five Preludes. The second attached press clipping indicates that the Prelude in C sharp minor, op. 3, no. 2, was not to be on the program, however there may have been a change of plan. The source for the amusing references about Rachmaninoff's address in the United States and his method of working can only be speculated on. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 19 1930
Rachmaninoff's role: Solo Pianist
Notes: The works by Rachmaninoff are not mentioned in the first attached review, despite the reviewer highlighting the composer's music, however in the second review there is a reference to only three being played (it is not known which these were). The Prelude in C sharp minor, op. 3, no. 2, is noted as one of two encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 22 1930
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 25 1930
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that in this concert only 3 Etudes-Tableaux were played, but their keys are not known. The details given here accord with other venues Rachmaninoff played this program, but it could be that the three align with the program given in The Hague on November 5, or in Antwerp the following day. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 26 1930
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 30 1930
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 1 1930
Rachmaninoff's role: Solo Pianist
Notes: This program is speculative, as Satina indicates that she had neither a program nor a review. She writes that ‘we only assume that the same program as in Germany and Zurich was played’. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 2 1930
Rachmaninoff's role: Solo Pianist
Notes: This program is speculative, as Satina indicates that she had neither a program nor a review. She writes that ‘we only assume that the same program as in Germany and Zurich was played’. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 4 1930
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 5 1930
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 10 1930
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 23 1931
Rachmaninoff's role: Solo Pianist
Notes: It is not known which of the two C minor op. 39 etudes-tableaux was played. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 25 1931
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 26 1931
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that the key of Rachmaninoff’s Etude-Tableau was not given in the review she had received, although one of the two in C minor was played in other programs at this time (often, it appears, op. 39, no. 1). Sgambatti's transcription of Gluck's 'Melodie' is noted as one of two encores in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 28 1931
Rachmaninoff's role: Solo Pianist
Notes: While Satina was unable to find details for this concert, the program can be reconstructed from the attached review. Rachmaninoff substituted his Prelude in C sharp minor, op. 3, no. 2, for the C minor Etude-Tableau printed in the program, which he appears also to have done at the concert in Kalamazoo two days later. While the review refers to Rachmaninoff's Prelude in 'G minor', it could be in error as the Prelude in G major, op. 32, no. 5, was typically programmed during the season. The encores included Rubinstein's transcription of the Turkish March from Beethoven's Ruins of Athens, and Rachmaninoff's transcription of Mussorgsky's Hopak.
January 30 1931
Rachmaninoff's role: Solo Pianist
Notes: While the Prelude in G major, op. 32, no. 5, was announced in the press, the attached review indicates that the one in C sharp minor, op. 3, no. 2, was performed in its place. Satina noted that the Chopin Waltz was either op. 64, no. 3, op. 69, no. 2, or op. 42. Sgambatti's transcription of Gluck's 'Melodies', and Rubinstein's transcription of Beethoven's Turkish March are noted as the encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 1 1931
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 4 1931
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that the Chopin Waltz was either op. 64, no. 3, op. 69, no. 2, or op. 42. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 6 1931
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that the Chopin Waltz was either op. 64, no. 3, op. 69, no. 2, or op. 42. She was unsure whether Bach's Organ Chorale Prelude opened the concert, a matter which is confirmed in the attached review. Similarly, she wondered whether Chopin's Nocturne in C sharp minor, op. 27, no. 1, was on the program, however it appears it was not. Rubinstein's transcription of Beethoven's Turkish March is noted as the third and final encore. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 8 1931
Rachmaninoff's role: Solo Pianist
Notes: From the attached review, it appears that, atypically, an encore was played prior to interval. The reviewer notes that the Prelude in C sharp minor, op. 3, no. 2, was not played among encores at the end of the concert. From comments about Rachmaninoff's Etude-Tableau, it appears that op. 39, no. 1, was played. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 10 1931
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that the Chopin Waltz was either op. 64, no. 3, op. 69, no. 2, or op. 42. The Prelude in G sharp minor, op. 32, no. 12, Rachmaninoff's transcription of Mussorgsky's Hopak, and Rubinstein's transcription of Beethoven's Turkish March are noted as encores in the attached review. The comment regarding Rachmaninoff's Etude-Tableau likely indicate that op. 39, no. 1, was played. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 14 1931
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 24 1931
Rachmaninoff's role: Solo Pianist
Notes: As the second attached press clipping explains, a late change to the program involved the removal of the advertised Scriabin works (preludes in C major, G major, B minor, F sharp minor, F major, and E flat minor from op. 11, and an etude, op. 42) and additional Medtner works (Fairy Tale in E minor, op. 34, no. 2, and Funeral March, op. 31, no. 2), and the inclusion of works by Liszt. The program including works by Scriabin was also to have been played in Los Angeles in March 7, but does not appear to have been given this season at all. Satina noted that the Chopin Waltz could have been either op. 64, no. 3, op. 69, no. 2, or op. 42, and that the Scriabin Etude from op. 42 was probably in C sharp minor. Satina also indicated that Medtner’s Fairy Tale in B minor could have been op. 20 or op. 34, no. 1. The second attached review refers to Balakirev's transcription of Glinka's 'The Lark' as an encore, however this is perhaps in error as it is not known to have been in Rachmaninoff's repertoire. Additional encores included Rachmaninoff's transcription of Rimsky-Korsakov's Bumble Bee, Rubinstein's transcription of Beethoven's Turkish March, and the Prelude in C sharp minor, op. 3, no. 2. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.