Diary entries
November 30 1893 (Julian calendar)
Rachmaninoff's role: Chamber Musician
Notes: Satina indicated that this was the first performance of the work, as was also confirmed by Threlfall and Norris. Keldysh (p. 89) noted a positive review of the concert in Moskovkiye Vedomosti. Val'kova (vol. 1, p. 143) includes further details of the program, including that Grzhimali and Pabst performed Beethoven's Kreutzer Sonata, op. 47, in the first part of the concert. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 31 1894 (Julian calendar)
Rachmaninoff's role: Chamber Musician and Solo Pianist
Notes: Satina indicated that this was the first performance of Rachmaninoff’s op. 9, and the first performance of pieces from op. 10. Regarding Rachmaninoff’s piano works, Satina noted their details, citing Apetian (p. 107), which is confirmed by Val'kova (vol. 1, p. 149). Val'kova notes the reverse order of Rachmaninoff's songs, which is adopted here, also indicating that a concert poster advertised two different songs, and the performance of Rachmaninoff's op. 6 works for violin and piano (to have been performed with Conus) rather than the works for cello and piano. Val'kova further indicates that a review of the concert confirmed both songs. The event appears to be the first all-Rachmaninoff concert. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 7 1894 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: The Russian National Museum of Music (formerly known as the Glinka State Central Museum of Musical Culture) has details of a ‘mixed concert’ on this date. Val'kova (vol. 1, p. 151) lists the concert, referring to Rachmaninoff playing a 'piano solo', although she also notes the date might be speculative: the concert program lists neither a date or venue, while an unknown hand (presumably an archive worker) has inscribed 'February 7' on the catalogue card.
February 15 1894 (Julian Calendar)
Rachmaninoff's role: Solo Pianist
Notes: Val'kova (vol. 1, p. 152) lists this concert, which is not noted in other sources. The event was a mixed concert of the Russian Choral Society, and Val'kova indicates the pieces played by Rachmaninoff were according to a report of the Russian Musical Society, while a press announcement she cites refers to Rachmaninoff playing a 'piano solo'.
February 21 1894 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina indicated that the incomplete program was from a concert in which Rachmaninoff also accompanied a singer. Val'kova (vol. 1, p. 153), citing a review, further identifies that Zinaida Aksena-Kretz sang a number of songs, Rachmaninoff accompanying only his, along with performing the piano solos. The other works performed at the concert, and their order, is unknown. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 29 1894 (Julian calendar)
Rachmaninoff's role: Solo Pianist and Chamber Musician
Notes: The Russian National Museum of Music (formerly known as the Glinka State Central Museum of Musical Culture) has details of a ‘Music and Literary Evening’ on this date. The performance was not listed by Satina, however Keldysh (p. 91) indicated that it was the first performance of Rachmaninoff's op. 6. Val'kova (vol. 1, p. 154), however, indicates a 'high probability' that the two works were first performed by Conus and Rachmaninoff in a concert at the Assembly of the Nobility on March 17, the violinist's name being listed on the program while the pianist's name was unspecified. The other works on the program are unknown.
February 11 1895 (Julian Calendar)
Rachmaninoff's role: Solo Pianist
Notes: Val'kova (vol. 1, p. 165) lists this concert, which is not noted in other sources. Citing a number of reviews, she indicates that the mixed concert was a benefit event for the Pharmaceutical Relief Fund, and featured various performers, as well as the Amateur Pharmaceutical Orchestra.
June 30 1895 (Julian Calendar)
Notes: Despite his appearance being advertised, Rachmaninoff did not perform at this concert. Among the collection of photographs in Keldysh's book is an image of a concert poster: the concert was a fundraising event for the Bobylevka and Ivanovka public schools, the intent of which was to raise money for new libraries. The program image indicates that Rachmaninoff was to play a solo as the penultimate item but, as Elena Zhukovskaya (née Kreutzer) indicates in her contribution to Vospominania (vol. 2, p. 283), Rachmaninoff was ill and couldn't perform. As Zhukovskaya further recounts, the concert was successful, and a sum of 300 rubles was raised. This Diary entry is to clarify details of the event; an image of the poster from Keldysh's book is attached for reference.
November 7 1895 (Julian calendar)
Rachmaninoff's role: Solo Pianist and Chamber Musician
Notes: This concert was the first part of a tour with the violinist Teresina Tua (Maddalena Maria Teresina Tua, also listed in concert programs of the time as Countess Franchi Verney della Valetta). Satina cited Apetian, p. 126, for the details of cities played on this tour. According to Satina and later sources who relied on her information, Rachmaninoff left the tour in Smolensk on 24 November, however various Russian sources quote reviews and other materials to indicate that Rachmaninoff stayed with the tour until the second concert in Riga on December 5 (the Diary entry for that concert lists the further cities that were originally scheduled). The works performed with Tua have not been noted by Satina, although Martyn indicates that Beethoven's Kreutzer Sonata, and pieces by Vieuxtemps, Chopin and Sarasate were played (p. 373). Martyn notes further solo piano pieces, as does Keldysh (p. 95), which at various concerts were: Chopin's Berceuse, op. 57, Nocturne in C minor, op. 48, no. 1, an unnamed Waltz, Liszt's Waldesrauschen and Valse-Impromptu, Rubinstein's Barcarolle, Arensky's Barcarolle, the Tchaikovsky-Pabst Concert Paraphrase on 'Eugene Onegin', op. 81, the Gounod-Liszt Waltz from 'Faust', along with Rachmaninoff's Prelude in C sharp minor, op. 3, no. 2, Melody, op. 3, no. 3, Polichinelle, op. 3, no. 4, and Serenade, op. 3, no. 5. Also noted in reviews was Balakirev's transcription of Glinka's 'The Lark'. The order of the programs (both solo and chamber works) generally is not known, however see the concert in Mogilev on November 17 for a program reconstructed from a press announcement. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 9 1895 (Julian calendar)
Rachmaninoff's role: Solo Pianist and Chamber Musician
Notes: Satina indicated that this concert was part of a tour with the violinist, Teresina Tua. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 10 1895 (Julian calendar)
Rachmaninoff's role: Solo Pianist and Chamber Musician
Notes: Satina indicated that this concert was part of a tour with the violinist, Teresina Tua. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 12 1895 (Julian calendar)
Rachmaninoff's role: Solo Pianist and Chamber Musician
Notes: Satina indicated that this concert was part of a tour with the violinist, Teresina Tua. Vilnius was known as Vilno at the time of the concert. Val'kova (vol. 1, p. 173) quotes a review in Vilensky Vestnik on November 14 that indicates the piano works played by Rachmaninoff, which also appears to comment negatively on Tua and Rachmaninoff's performance of Beethoven's Kreutzer Sonata, op. 47. Only these works from the program are listed here; the complete program is not known. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 13 1895 (Julian calendar)
Rachmaninoff's role: Solo Pianist and Chamber Musician
Notes: Satina indicated that this concert was part of a tour with the violinist, Teresina Tua. Kaunas was known as Kovno at the time of the concert. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 15 1895 (Julian calendar)
Rachmaninoff's role: Solo Pianist and Chamber Musician
Notes: Satina indicated that this concert was part of a tour with the violinist, Teresina Tua. Val'kova (vol. 1, p. 174) cites an announcement in Minskiy Listok on November 10, which indicates the name of the venue [Zal Obshchestvennikh Sobraniy]. She also cites a review in the same publication on November 17, which highlighted Rachmaninoff's performance. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 17 1895 (Julian calendar)
Rachmaninoff's role: Solo Pianist and Chamber Musician
Notes: Satina indicated that this concert was part of a tour with the violinist, Teresina Tua. Val'kova (vol. 1, p. 174) cites an announcement in the Mogilev Provincial Gazette on November 11, which lists the program indicated here according to a notice seen 'in Schmidt's store'. A review in the same publication on November 22 further confirms the concert. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 18 1895 (Julian calendar)
Rachmaninoff's role: Solo Pianist and Chamber Musician
Notes: Satina indicated that this concert was part of a tour with the violinist, Teresina Tua. Val'kova (vol. 1, p. 175) cites a review in Mogilev Provincial Gazette of both concerts in the city, which notes attendance was less at the second concert on November 18. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 22 1895 (Julian calendar)
Rachmaninoff's role: Conductor and Chamber Musician
Notes: Threlfall and Norris note this performance, indicating it was the premiere of the Capriccio on Gypsy Themes. Keldysh, citing a review in Russkiye Vedomosti, noted that Teresina Tua performed in the concert (p. 97), which is confirmed by Val'kova (vol. 1, p. 175), who supplies the complete program and selections from three reviews. Program information indicates that Rachmaninoff accompanied Tua at the piano, which would appear to be only those works in their tour program (by Sarasate, Chopin-Sarasate and Wieniawski). The work by Koreshchenko could have been his op. 11; it is not indicated which of Svendsen's Norwegian Rhapsodies was played. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 24 1895 (Julian calendar)
Rachmaninoff's role: Solo Pianist and Chamber Musician
Notes: Satina believed that Rachmaninoff left the tour with the violinist, Teresina Tua, after this concert, an error that was repeated by Bertensson and Leyda (p. 67) and Harrison (p. 67). Various Russian sources confirm that Rachmaninoff continued on the tour as far as the second concert in Riga on December 5. Val'kova (vol. 1, p. 177) cites a review in Smolenskiy Vestnik on November 26, which names the works Rachmaninoff performed as solos. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 26 1895 (Julian Calendar)
Rachmaninoff's role: Chamber Musician and Solo Pianist
Notes: Satina believed that Rachmaninoff had left the concert tour with Teresina Tua by this time. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 28 1895 (Julian Calendar)
Rachmaninoff's role: Chamber Musician and Solo Pianist
Notes: Satina believed that Rachmaninoff had left the concert tour with Teresina Tua by this time. A review of the concert by A. Jacobs appeared in Rizhsky Vestnik on November 29, no. 264, which is cited by Val'kova (vol. 1, p. 178), noting that Rachmaninoff played the solo works indicated here. The review appears to also note the performance of a violin sonata by Marco Enrico Bossi. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 30 1895 (Julian Calendar)
Rachmaninoff's role: Chamber Musician and Solo Pianist
Notes: Satina believed that Rachmaninoff had left the concert tour with Teresina Tua by this time. Liepāja was known as Libava in 1895. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 2 1895 (Julian Calendar)
Rachmaninoff's role: Chamber Musician and Solo Pianist
Notes: Satina believed that Rachmaninoff had left the concert tour with Teresina Tua by this time. Vilnius was known as Vilno at the time of the concert. A review in Vilensky Vestnik on December 9, no. 266, which is cited by Val'kova (vol. 1, p. 178), notes the solo works performed by Rachmaninoff that are listed here. The review indicates Liszt's Valse-Impromptu was played as an encore. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 3 1895 (Julian Calendar)
Rachmaninoff's role: Chamber Musician and Solo Pianist
Notes: Satina believed that Rachmaninoff had left the concert tour with Teresina Tua by this time. Daugavpils was known as Dvinsk at the time of the concert. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 5 1895 (Julian Calendar)
Rachmaninoff's role: Chamber Musician and Solo Pianist
Notes: Satina believed that Rachmaninoff had left the concert tour with Teresina Tua by this time, however this appears to be the final concert in which Rachmaninoff played. Claiming that his contract with the tour promoter, Heinrich Langewitz, was void through non-payment of fees, it is understood Rachmaninoff did not proceed to concerts planned in Jelgava/Mitava (December 6), St Petersburg (December 8), Tartu/Derpt (December 10), Tallinn/Revel (December 11), St Petersburg (December 13), Pskov (December 15), Nizhny Novgorod (December 27). Val'kova (vol. 1, p. 179), however, lists the concert in Jelgava/Mitava on December 6, noting her presumption that it took place but also indicating that reliable information confirming it could not be found. A review in Rizhskiy Vestnik on December 7 notes the solo works performed by Rachmaninoff which are listed here. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 12 1897 (Julian calendar)
Rachmaninoff's role: Conductor
Notes: Chaliapin played the part of the Old Jew in this production. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 15 1897 (Julian calendar)
Rachmaninoff's role: Conductor
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 19 1897 (Julian calendar)
Rachmaninoff's role: Conductor
Notes: While Apetian listed this as the first performance of Dargomyzhsky's 'Rusalka' under Rachmaninoff's direction, Val'kova (vol. 1, p. 204) indicates that his participation is doubtful. While not citing a post-performance review, she notes two press announcements on October 19, both indicating that Esposito was to conduct. Val'kova indicates Rachmaninoff's first performance of 'Rusalka' was October 29, referencing a review. Chaliapin played the part of the Miller in this production. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 29 1897 (Julian calendar)
Rachmaninoff's role: Conductor
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 30 1897 (Julian calendar)
Rachmaninoff's role: Conductor
Notes: Chaliapin played the part of the Old Jew in this production. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 16 1897 (Julian calendar)
Rachmaninoff's role: Conductor
Notes: Chaliapin played the part of the Old Jew in this production. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.