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.
December 12 1931
Rachmaninoff's role: Solo Pianist
Notes: Satina indicates that this concert began at 2.30pm. This appears to have been the second performance Rachmaninoff gave of his revised Second Piano Sonata. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 2 1932
Rachmaninoff's role: Solo Pianist
Notes: It is not entirely certain which Gavotte by Gluck (arranged by Ernest Pauer) was played during this season, although Martyn (p. 425) believes that it was from Paris and Helen. Satina indicated that the Strauss-Tausig 'Valse Caprice' listed in the program was probably ‘Man lebt nur einmal’, which is confirmed by one of the attached reviews. 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.
February 8 1932
Rachmaninoff's role: Solo Pianist
Notes: Satina indicated that this concert began at 8.30pm, also writing that the two Gavottes by Gluck-Pauer were probably the same as played in Wilmington on February 2; however one of those was an original composition by Pauer. Satina also noted that this program was part of an ‘Endowment Series’. The reference to Rachmaninoff playing Mozart's sonata 'no. 14' is thought to be an error. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 16 1932
Rachmaninoff's role: Solo Pianist
Notes: Stuart Campbell, in 'The Russian Paris of Rachmaninoff' (2013), p. 83, states that the net proceeds from the concert, 45,872 francs, were intended for the Russian unemployed. 2,500 francs were donated to struggling Russian musicians. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 18 1932
Rachmaninoff's role: Solo Pianist
Notes: Satina questioned if Chopin's Fantasie was performed at this concert, given that it will be an important piece in numerous later iterations of the program. Its similar lack of mention in the attached reviews, and in the press clipping, indicate that it wasn't included in Toronto. Rachmaninoff's Humoresque, op. 10, no. 5, and the Prelude in C sharp minor, op. 3, no. 2, along with a Chopin mazurka, and are noted as the encores in the attached reviews. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 22 1932
Rachmaninoff's role: Solo Pianist
Notes: The Prelude in C sharp minor, op. 3, no. 2, two works by Chopin, and Rachmaninoff's transcription of Rimsky-Korsakov's Bumble Bee, are noted as the encores in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 24 1932
Rachmaninoff's role: Solo Pianist
Notes: The Prelude in C sharp minor, op. 3, no. 2, is noted as an encore in one of the attached press clippings. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 25 1932
Rachmaninoff's role: Solo Pianist
Notes: The Prelude in C sharp minor, op. 3, no. 2, a Chopin waltz, and Rachmaninoff's Humoresque, op. 10, no. 5, are noted as the encores in the attached reviews. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 30 1932
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 31 1932
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 1 1932
Rachmaninoff's role: Solo Pianist
Notes: Tchaikovsky's Troika, the Prelude in C sharp minor, op. 3, no. 2, the transcription of Rimsky-Korsakov's Bumble Bee, and a Chopin waltz are noted as the encores in the attached reviews. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 5 1932
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 10 1932
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 14 1932
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that the keys of the works by Chopin were based on those played in Nashville and other concerts in the season, yet the attached review indicates that Chopin's Waltz in C sharp minor replaced the usual A flat major. The Prelude in C sharp minor, op. 3, no. 2, and the transcription of Rimsky-Korsakov's Bumble Bee, are noted as two of the three encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 16 1932
Rachmaninoff's role: Solo Pianist
Notes: Rachmaninoff's Prelude in C sharp minor, op. 3, no. 2, and his transcription of the Minuet by Bizet, are noted as the encores in one of the attached reviews. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 21 1932
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that the keys of the works by Chopin were based on those played in Nashville and other concerts in the season; it might be that different works by Chopin were played in some iterations of this program. Satina also indicated that Chopin's Ballade no. 3 was not mentioned in a review of this concert, and nor is it mentioned in the one that is attached (which, given the small location, might have been all that was printed). As the reviewer mentions that Rachmaninoff 'crashed' into the song transcriptions after the Beethoven sonata, and that fewer of these are noted, this could have been a shorter concert without interval. Rachmaninoff's Prelude in C sharp minor, op. 3, no. 2 - the performance of which he notes as 'my duty' in the attached press clipping - and the transcription of Rimsky-Korsakov's Bumble Bee, were the encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 23 1932
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that the keys of the works by Chopin were based on those played in Nashville and other concerts in the season; yet it might be that different works by Chopin were played in some iterations of this program. As well as confirming the Ballade in one of the attached reviews, encores noted were the Prelude in C sharp minor, op. 3, no. 2, Tchaikovsky's Hopak, and Rachmaninoff's transcriptions of Mussorgsky's Hopak, Rimsky-Korsakov's Bumble Bee, and Bizet's Minuet. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 29 1932
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 30 1932
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that the keys of the works by Chopin were based on those played in Nashville and other concerts in the season; yet it might be that different works by Chopin were played in some iterations of this program. Satina also notes that Schubert’s song, The Brooklet, was not mentioned in the review of this concert. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 2 1932
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that the keys of the works by Chopin were based on those played in Nashville and other concerts in the season; yet it might be that different works by Chopin were played in some iterations of this program. Mussorgsky's Hopak is noted among the transcriptions in the attached review, however the press clipping lists the song typically played in this program. Rachmaninoff's Prelude in C sharp minor, op. 3, no. 2, Tchaikovsky's Troika, the transcription of Rimsky-Korsakov's Bumble Bee, and a Chopin waltz are noted as encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 5 1932
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 9 1932
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 10 1933
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 16 1933
Rachmaninoff's role: Solo Pianist
Notes: The Chopin Ballade was presumably no. 3 in A flat major. A Waltz in A flat major, and the Nocturne in F sharp, op. 15, no. 2, appeared in similar programs during this season. An unnamed work by Rachmaninoff, a Chopin waltz, 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 in one of the attached reviews. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 23 1933
Rachmaninoff's role: Solo Pianist
Notes: Satina indicates that this was the first performance of the Mendelssohn transcription, which is also noted by Threlfall and Norris (III/7), however reviews and an advance press notice of the program in Macon, GA, on January 19 indicate that it was first played there. Satina indicates that the Chopin works were likely a Waltz in A flat major, the Nocturne in F sharp, op. 15, no. 2, and the Ballade no. 3 in A flat major, op. 47. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 24 1933
Rachmaninoff's role: Solo Pianist
Notes: Satina indicates that the Chopin waltz was likely in A flat major. Tchaikovsky's Troika, and Rachmaninoff's transcriptions of Mussorgsky's Hopak and Rimsky-Korsakov's Bumble Bee are noted as the encores in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 26 1933
Rachmaninoff's role: Solo Pianist
Notes: Satina indicates that the Chopin works were likely a Waltz in A flat major, the Nocturne in F sharp, op. 15, no. 2, and the Ballade no. 3 in A flat major, op. 47, the last confirmed by the attached review. She appears not to have had access to a program or review of this concert, yet her speculation based on programs given on either side is supported by the review. Tchaikovsky's Troika, Tausig's transcription of Schumann's Kontrabandiste, and Rachmaninoff's transcriptions of Mussorgsky's Hopak and Rimsky-Korsakov's Bumble Bee are noted as the encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 28 1933
Rachmaninoff's role: Solo Pianist
Notes: Satina indicates that the Chopin works were likely a Waltz in A flat major and the Nocturne in F sharp, op. 15, no. 2. Satina also notes that the works by Rachmaninoff were not mentioned in the review she had been sent. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 30 1933
Rachmaninoff's role: Solo Pianist
Notes: Satina indicates that the Chopin works were likely a Waltz in A flat major, the Nocturne in F sharp, op. 15, no. 2, and the Ballade no. 3 in A flat major, op. 47. Tchaikovsky's Troika, Rachmaninoff's transcriptions of Mussorgsky's Hopak and Rimsky-Korsakov's Bumble Bee, Tausig's transcription of Schumann's Kontrabandiste, and Rachmaninoff's Humoresque, op. 10, no. 5, are noted as the encores in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 4 1933
Rachmaninoff's role: Solo Pianist
Notes: While Satina has indicated that the Nachtstück is in F major, it is possible that it was either no. 2 or no. 4: both are in F major, although no. 2 has an F minor section. Satina believed the Schubert Impromptu was D. 935, no. 4, while Martyn (p. 434) indicates D. 935, no. 1. The Ballade no. 3 in A flat major, op. 47, was played in other programs during this season, along with a Waltz in A flat major. The Liszt Sonetto del Petrarca in E major, no. 104, was frequently played in programs in numerous earlier seasons. Satina notes that the Rapsodie by Liszt was not mentioned in a review of this concert. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.