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.
November 10 1921
Rachmaninoff's role: Solo Pianist
Notes: Satina indicated that the Chopin Waltz could be either op. 70, no. 3 or op. 64, no. 1, although the latter was more frequently played at this time, and that this was the first concert in which Rachmaninoff included his transcription of Kreisler's Liebesleid. Satina also referred to a review she had been sent to indicate that Rachmaninoff played his Prelude in C sharp minor, which judging from the attached press clipping may not have been as an encore. The review Satina refers to has not been located. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 11 1921
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 13 1921
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 14 1921
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 16 1921
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 17 1921
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 20 1921
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that the Chopin Waltz could be either op. 70, no. 3 or op. 64, no. 1, although the latter was more widely played at the time, and that the two Rachmaninoff etudes could be nos. 1 or 7, or nos. 2 or 6. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 22 1921
Rachmaninoff's role: Solo Pianist
Notes: The attached reviews indicate that Mozart's Turkish Rondo was given as an encore after the Grieg Ballade, that Chopin's Minute Waltz was repeated, and the Waltz in G flat major, op. 70, no. 1, was played after the Scherzo, and that the Prelude in C sharp minor, op. 3, no. 2, was given at the end. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 24 1921
Rachmaninoff's role: Solo Pianist
Notes: Mozart's Turkish Rondo is noted as an encore after the Grieg Ballade in the first attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 27 1921
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that the Chopin Waltz could be either op. 70, no. 3 or op. 64, although the latter was more frequently played at this time, no. 1, and that the two Rachmaninoff etudes could be nos. 1 or 7, and nos. 2 or 6. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 29 1921
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 30 1921
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 1 1921
Rachmaninoff's role: Solo Pianist
Notes: The Prelude in C sharp minor, op. 3, no. 1, is noted among the encores at the end of the recital. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 4 1921
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that the Chopin Waltz could be either op. 70, no. 3 or op. 64, no. 1, although the latter was more widely played at the time, and that the two Rachmaninoff etudes could be nos. 1 or 7, and nos. 2 or 6. The second attached review notes an encore after the Grieg Ballade, and two Chopin waltzes added after the Chopin group. At the end of the concert, Tchaikovsky's Troika, the Elegy, op. 3, no. 1, the Prelude in C sharp minor, op. 3, no. 2, and Debussy's Cakewalk were added. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 5 1921
Rachmaninoff's role: Solo Pianist
Notes: The attached review indicates that the inclusion of Rachmaninoff's Prelude was a change from the advertised Elegy, op. 3, no. 1, which is confirmed by the attached press clipping. The review notes that Mozart's Turkish Rondo was given as an encore after the Grieg Ballade, while Chopin's Waltz in G flat major, op. 70, no. 1, was played after the Chopin group. Tchaikovsky's Troika was given as an encore at the end. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 6 1921
Rachmaninoff's role: Solo Pianist
Notes: Satina indicates that the Chopin Waltz could be either op. 70, no. 3 or op. 64, no. 1, and that the Polka was not mentioned in a review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 7 1921
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that the Chopin Waltz could be either op. 70, no. 3 or op. 64, no. 1, although the latter was more frequently played at this time, and that the two Rachmaninoff etudes could be nos. 1 or 7, and nos. 2 or 6. The attached review notes Chopin's Waltz in C sharp minor, op. 64, no. 2, as an encore after the Chopin group, while the D flat major waltz within the program was repeated. The Prelude in C sharp minor, op. 3, no. 2, was given as an encore at the end. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 9 1921
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that the Chopin Waltz could be either op. 70, no. 3 or op. 64, no. 1, although the latter was by far the most frequently played at this time. Satina also noted that a review of the concert did not mention the Etude by Dohnányi, which was perhaps the same as the one attached here; it seems possible the work was not played. The review notes a Schubert Impromptu as an encore after the Grieg Ballade, two Chopin waltzes after the Chopin group, encores after Rachmaninoff's Polka, and a further half-dozen unnamed encores at the end. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 19 1921
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that two Etudes-Tableaux were on the program, however the attached reviews note the other works. A Chopin waltz and something not identified appears to have been given as encores after the Chopin group, according to the reviews, while Tchaikovsky's Troika was given as an encore at the end. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 30 1921
Rachmaninoff's role: Solo Pianist
Notes: Satina indicated that the Chopin Waltz could be either op. 70, no. 3 or op. 64, no. 1, although the latter appears to have been more frequently played at this time. About this concert, she wrote: ‘An incomplete program sent to us from Akron, OH, December 30, 1921, seems to indicate that the program was about the same as listed above. The works of Liszt, Grieg, Chopin, Rachmaninoff and Dohnányi were played.’ The attached review, while not naming specific pieces apart from the Tarantella of Liszt, appears to confirm Satina's thoughts. As the attached press clippings note, the concert had been postponed from the previous month due to illness. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 3 1922
Rachmaninoff's role: Solo Pianist
Notes: Both Satina and Apetian recognised this date but had few details. Fiona Maddocks notes a review appearing the following day in the New York Times, which indicated the concert was a fund-raiser for the Babies' Dairy Association. This review, which does not note what was played, along with two press clippings that outline the event, are attached. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 4 1922
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that Rachmaninoff's Elegy, op. 3, no. 1, was played at this concert, however the attached reviews indicate that it was the Prelude. The reviews also note that Chopin's Waltz in G flat major, op. 70, no. 1, was given as an encore after the Chopin group, while Tchaikovsky's Troika was played at the end of the recital. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 9 1922
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 11 1922
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 12 1922
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 14 1922
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 16 1922
Rachmaninoff's role: Solo Pianist
Notes: The attached review notes that Chopin's Waltz in E flat major, op. 18, was played as an encore after the Chopin group, while Debussy's Cakewalk and the transcription of Kreisler's Liebesleid were played at the end. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 17 1922
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 19 1922
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that this was the first concert where Rachmaninoff played his transcription of Bizet’s Minuet. The Handel Aria with variations was from Suite no. 5. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 20 1922
Rachmaninoff's role: Solo Pianist
Notes: The attached reviews note Mozart's Turkish Rondo as an encore after the Weber, and a Chopin waltz after the Chopin group - the second review refers to two waltzes from the op. 64 group, but it is not known which was programmed and which was given as an encore. Tchaikovsky's Troika and the transcription of Kreisler's Liebesleid were played at the end. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.