Diary entries
December 16 1915 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: St Petersburg was known as Petrograd at this time. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 18 1915 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: St Petersburg was known as Petrograd at this time. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 21 1915 (Julian calendar)
Rachmaninoff's role: Chamber Musician and Piano Soloist
Notes: Satina indicates that this was a concert arranged by Rachmaninoff, with Anatoly Brandukov assisting, in the ‘Hall of the Nobility Girl Institution’. Further, that it was for ‘the benefit of the All Russian Nobility Union’, with the money being sent to ‘the Division on the front’. Keldysh (p. 404) indicates that the concert took place at the Noble Women's Institute. While Satina indicated only that it was an all-Rachmaninoff program, Apetian notes the pieces indicated here. The name of the violinist is not known. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 10 1916 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina indicates that this was an all-Rachmaninoff recital program. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 18 1916 (Julian calendar)
Rachmaninoff's role: Concerto Soloist
Notes: Satina notes that this was an ‘extra Symphony Concert’, for the ‘benefit of the All-Russian Cities Union’, intended to help supply the Army with materials. Shaginian, in Vospominania (vol. 2, p. 161), indicates that Rachmaninoff played his Moment musical in E flat minor, op. 16, no. 2, as an encore. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 24 1916 (Julian Calendar)
Rachmaninoff's role: Chamber Musician
Notes: Neither Satina nor Apetian noted this concert, in which Rachmaninoff's role was limited to accompanying some of his songs in an encore. The concert was the 6th of Koussevitzky's season, and is mentioned by Keldysh (p. 404) in regard only to Nezhdanova's participation, without providing further program details. Keldysh indicates that Rachmaninoff's role in the concert was not advertised, and that the audience was surprised when he seated himself at the piano to accompany Nezhdanova's encores. The review by Yury Engel in Russkiye Vedomosti on January 27 notes: 'В псполненных ею сверх программы романсах Рахманинова аккомпанировал сам композитор, так совершенно, как только он умеет' ['In the Rachmaninoff romances performed by her in addition to what was listed on the program, the composer himself was accompanying, so perfectly as only he is able to']. It is not known which songs were performed in the encore.
January 28 1916 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina indicates that this was a concert for the benefit of the All-Russian Cities Union, and included Scriabin’s Piano Sonata no. 5, op. 53, and ‘Ten Preludes’, along with unknown works by Rachmaninoff. Keldysh (p. 401) believes that the Scriabin program performed on November 24 and December 16 at the end of the previous year was given again here, which would appear to exclude works by Rachmaninoff. St Petersburg was known as Petrograd at this time. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 30 1916 (Julian calendar)
Rachmaninoff's role: Concerto Soloist
Notes: Satina indicates that this concert was part of Siloti’s season. St Petersburg was known as Petrograd at this time. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 3 1916 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina indicates that this concert was for the benefit of the All-Russian Cities Union, and that it comprised an all-Rachmaninoff program. St Petersburg was known as Petrograd at this time. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 10 1916 (Julian calendar)
Rachmaninoff's role: Chamber musician
Notes: Satina indicates that this was a chamber music concert. Apetian also notes the concert but was unable to name the program or the other performers. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 15 1916 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that this was an all-Rachmaninoff recital program. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 10 1916 (Julian calendar)
Rachmaninoff's role: Chamber Musician
Notes: Neither Satina nor Apetian recorded a concert on this date, yet Keldysh (p. 404) noted a performance with Nina Koshetz, citing a review in Muzika (1916, no. 250, p. 186). An image of the program was published in an online Parisian auction catalogue of materials relating to Rachmaninoff in March 2026, from which details have been taken. Vera Epaneshnikova accompanied Koshetz in the songs by Grechaninov, Bagrinovsky and Medtner, while Rachmaninoff accompanied his own songs. Both 'Dissonance', op. 34, no. 13, and 'He Took Everything From Me', op. 26, no. 2, were mentioned in the review referenced by Keldysh. (No song with the title of 'Да, любитъ сна' ['Yes, Love Sleep'] has been identified in Medtner's catalogue.)
October 22 1916 (Julian calendar)
Rachmaninoff's role: Concerto Soloist
Notes: St Petersburg was known as Petrograd at this time. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 24 1916 (Julian calendar)
Rachmaninoff's role: Chamber Musician
Notes: Satina notes that this was the first performance of the complete series of songs, op. 38, which is dedicated to Nina Koshetz. Satina also indicates that the program – which contained three parts – appears to be the same as performed in Kyiv on January 20 1917, which is confirmed by Apetian. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 29 1916 (Julian calendar)
Rachmaninoff's role: Concerto Soloist
Notes: Satina indicated that this was one of Alexander Siloti’s concerts. St Petersburg was known as Petrograd at this time. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 30 1916 (Julian calendar)
Rachmaninoff's role: Chamber Musician
Notes: Satina indicated that the same program was given here as in the concert in Moscow, October 24 1916, (and, therefore, Kyiv, January 20 1917), however in noting the possible addition of ‘How fair this spot’, op. 21, no. 7, and ‘When Yesterday we met’, op. 26, no. 13, ‘and possibly some others’ she likely realised there was an issue with her assertion. Asafiev, in a review in Muzikalny Sovremennik, 1916, no. 5/6, p. 14, notes both of these songs, thereby confirming their inclusion. His review does not mention 'Arion', op. 34, no. 5, 'What Happiness', op. 34, no. 12, or 'Dissonance', op. 34, no. 13. Timofeev, in his review in Rech on November 1, notes that both Koshetz and Rachmaninoff performed eighteen songs in total, and at present it is not possible to know which of the songs not named by Asafiev made up the numbers. Timofeev also indicates that Koshetz and Rachmaninoff performed 'наизуст' ['by heart', i.e., without music]. St Petersburg was known as Petrograd at this time. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 29 1916 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that this was the first performance of the Etudes-Tableaux, op. 39, although only 8 were included in the set. While the manuscripts for nos. 5 and 9 bear the date 1917, Threlfall and Norris claim that no. 5 was performed. Keldysh (p. 407) indicates that both nos. 5 and 9 were performed, explaining their manuscript dates as due to later polishing, and states that no. 8 (D minor) was written only in early 1917. Keldysh cites reviews that mention specifically Etude-tableau no. 5. Satina indicates that she constructed the program from a review of both this concert and one on December 1, and that it’s not possible to ascertain if Rachmaninoff played 6 Preludes from op. 23 and 6 Preludes from op. 32, or only 6 in total. She also indicates that the Variations on a Theme of Chopin, op. 22, might have been performed at this concert. Keldysh indicates that the program was repeated in St Petersburg on December 1, 8, and 10, although Satina has no record of the last of these dates. St Petersburg was known as Petrograd at this time. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 1 1916 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that this was the second performance of the Etudes-Tableaux, op. 39, although only 8 were included in the set. While the manuscripts for nos. 5 and 9 bear the date 1917, Threlfall and Norris claim that no. 5 was performed. Keldysh (p. 407) indicates that both nos. 5 and 9 were performed, explaining their manuscript dates as due to later polishing, and states that no. 8 (D minor) was written only in early 1917. Keldysh cites reviews that mention specifically Etude-tableau no. 5. Satina indicates that she constructed the program from a review of both this concert and one on November 29, and that it’s not possible to ascertain if Rachmaninoff played 6 Preludes from op. 23 and 6 Preludes from op. 32, or only 6 in total. Keldysh indicates that the program was repeated in St Petersburg on December 8 and 10, although Satina has no record of the last of these dates. St Petersburg was known as Petrograd at this time. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 2 1916 (Julian calendar)
Rachmaninoff's role: Chamber Musician
Notes: Satina indicates that the same program was given here as in the concert in Moscow, October 24 1916, (and, therefore, Kyiv, January 20 1917), which is also confirmed by Apetian. However, Satina also notes the addition of ‘How fair this spot’, op. 21, no. 7, and ‘When Yesterday we met’, op. 26, no. 13, ‘and possibly some others’. St Petersburg was known as Petrograd at this time. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 5 1916 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that this was the first performance of the still-incomplete set of Etudes-Tableaux, op. 39, in Moscow. Satina has placed a question mark next to the venue, presumably indicating that the precise location is uncertain. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 6 1916 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina indicates that the program was the same as given in the concert on December 5 1916, also noting that ‘25% of the proceeds were given to the needy Students of the College’. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 8 1916 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina was unable to find details of this program, however Keldysh (p. 407) indicates that it was the same as was performed on November 29 and December 1. However, as Satina indicated a different work beginning each of those concerts, it is not possible ascertain the complete program on this date. Keldysh also believed this program was repeated yet again in St Petersburg on December 10, however Satina does not record a concert on this date. St Petersburg was known as Petrograd at this time. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 11 1916 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that this was an all-Rachmaninoff program. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 13 1916 (Julian calendar)
Notes: No details. St Petersburg was known as Petrograd at this time. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 16 1916 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina indicates that this was an all-Rachmaninoff program. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 17 1916 (Julian calendar)
Rachmaninoff's role: Chamber Musician
Notes: Satina indicates that this was the same program as given in Kyiv on January 20 1917, and in Moscow on October 24 1916, as is copied above. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 19 1916 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina indicates that she could not find a complete program, but that the concert included Preludes from op. 23 and op. 32, and some Etudes-Tableaux. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 21 1916 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina notes an all-Rachmaninoff program at this concert. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 7 1917 (Julian calendar)
Rachmaninoff's role: Conductor
Notes: Satina noted that this was the 2nd Symphony Concert of the season of the Orchestra of the Bolshoi Theatre. While she did not give the name of the theatre, Martyn states that it was the Bolshoi (p. 521), which is confirmed by a review in Russkiye Vedomosti on January 10. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 9 1917 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: The reference to ‘Fifteen Etudes-Tableaux’ is of interest. Two of the Etudes-Tableaux from op. 39 are dated from February 1917 on their manuscripts, yet nine from this set (including the held-over no. 6 in A minor, originally planned for the op. 33 set) plus the published 6 from the op. 33 set could represent this total number of Etudes-Tableaux. Alternatively, one or two Etudes-Tableaux from op. 33, which were published only posthumously – in C minor and D minor – might have been included, although this perhaps seems less likely. Apetian also noted the same number of Etudes-Tableaux in this concert. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.