Diary entries
November 27 1885 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Keldysh notes (p. 34) that 'already in his first year of study at the conservatory, on November 27, 1885, he played at a student evening'. It is not indicated from which book of the Well-Tempered Klavier the prelude was taken. Also attributable to 1886, Keldysh (p. 28) and Val'kova (vol. 1, p. 51) both note a performance by Rachmaninoff of Bach's English Suite in A minor at the Conservatory in the presence of A. Rubinstein, the latter highlighting an apparent inaccuracy of date in various historical sources.
November 19 1886 (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) holds details of this concert, the occurrence of which is confirmed by Val'kova (vol. 1, p. 55), who notes that the event was a Student Evening recital. Whether the Prelude and Fugue was from Book I or II of the Well-Tempered Klavier has not been stated.
December 8 1886 (Julian calendar)
Rachmaninoff's role: Chamber Musician
Notes: Threlfall and Norris list a possible performance on this date at the house of Nikolai Zverev. Val'kova (vol. 1, p. 55) confirms the attendance of Tchaikovsky at a dinner at Zverev's house, yet does not mention a performance of the work.
December 17 1886 (Julian Calendar)
Rachmaninoff's role: Solo Pianist
Notes: Val'kova (vol. 1, p. 55) indicates a performance at a Student Evening, naming the work by Henselt. Without supplying a precise date, Keldysh (p. 34) also indicated a performance of the work around this time.
November 2 1887 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Keldysh (p. 34) and Val'kova (vol. 1, p. 59) both indicate that the first movement of the Beethoven sonata was played by Leonid Maximov at this Student Evening concert.
December 4 1887 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Keldysh (p. 34) noted works by these composers, the precise details of which are given by Val'kova (vol. 1, p. 59). Val'kova, however, indicates the date as December 14, and it seems possible that a typographical error has arisen in one of the sources.
May 1888 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Threlfall and Norris list this performance (II/11). The work is mentioned in 'Rachmaninoff's Recollections' by Oskar von Riesemann, a facsimile of which the composer copied from memory for the book in 1931.
October 3 1888 (Julian Calendar)
Rachmaninoff's role: Solo Pianist
Notes: Val'kova (vol. 1, p. 66) indicates Rachmaninoff's performance at this Senior Class Student Evening concert. It is not known from which book of the Well-Tempered Klavier the Prelude and Fugue was taken.
October 31 1888 (Julian Calendar)
Rachmaninoff's role: Solo Pianist
Notes: Val'kova (vol. 1, p. 67) lists Rachmaninoff's performance at a Student Evening on this date, which is not recorded in other sources. While the key of the concerto is indicated as 'E major', it is possible that the Concerto no. 2 in E flat major, op. 32, was performed.
November 6 1888 (Julian Calendar)
Rachmaninoff's role: Solo Pianist
Notes: Val'kova (vol. 1, p. 69) indicates Rachmaninoff performance at this Musical Morning for Conservatory students, which is not noted in other sources. She further indicates that he was the sixth performer on the program. Which book of the Well-Tempered Klavier the Prelude and Fugue was taken is not stated.
November 21 1888 (Julian calendar)
Rachmaninoff's role: Chamber Musician
Notes: Satina indicated that this was a student Concert ‘for the benefit of needy students’, however it seems possible that the date was incorrect. See also the entries for performances of this chamber work in February and March 1889. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 10 1888 (Julian Calendar)
Rachmaninoff's role: Solo Pianist
Notes: Val'kova (vol. 1, p. 67) lists this performance at a Musical Morning, which is not noted in other sources. Which of the two op. 27 Sonatas by Beethoven the movement was taken from is not stated. It is noted that Maximov also performed a work by Beethoven in the concert.
December 12 1888 (Julian Calendar)
Rachmaninoff's role: Solo Pianist
Notes: Val'kova (vol. 1, p. 68) indicates Rachmaninoff's performance in this Senior Class Student Evening concert, which Keldysh (p. 34) also noted without supplying a precise date. Keldysh also indicated a performance of Liszt's Ballade in B minor, however this is not mentioned by Val'kova.
February 6 1889 (Julian Calendar)
Rachmaninoff's role: Chamber Musician
Notes: Val'kova (vol. 1, p. 69) indicates Rachmaninoff's participation in this Senior Class Student Evening. Satina did not record the event, however refer to a possibly erroneous recollection of a similar concert on November 21 the previous year.
March 12 1889 (Julian calendar)
Rachmaninoff's role: Chamber Musician
Notes: Keldysh (p. 36) indicated this concert took place on March 12, however Val'kova records that it took place on March 7. It is plausible that the earlier date might be correct, as Val'kova also notes the attendance of Grand Duke Konstantin Nikolaevich at a Student Evening (vol. 1, p. 70) at that time. Both note that a review in 'Teatr i Zhizi' (Theatre and Life) on March 14 recounted the 'remarkable ensemble' of the musicians, Val'kova also stating it was the first such review of Rachmaninoff in the press. Rachmaninoff and Maximov performed this work more than once, with Satina also believing a concert took place on November 21, 1888.
October 16 1889 (Julian Calendar)
Rachmaninoff's role: Concerto Soloist
Notes: Val'kova indicates (vol. 1, p. 74) that Rachmaninoff participated in this Senior Class Student Evening concert, which is not noted by other sources. Whether this was a performance with second piano or orchestra is not stated, and no names of other musicians involved is indicated.
November 16 1889 (Julian calendar)
Rachmaninoff's role: Chamber Musician
Notes: Satina correctly recorded Rachmaninoff's participation in a concert in honour of Anton Rubinstein, celebrating ‘the 50th year of artistic activity’, however appears to have mistaken the event for the following year. Val'kova (vol. 1, p. 75) provides conclusive evidence that the concert took place on this date in 1889. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 24 1891 (Julian calendar)
Rachmaninoff's role: Concerto Soloist
Notes: Satina indicated that this was a student concert ‘for the benefit of the needy students’. Threlfall and Norris list a performance of Rachmaninoff’s Deus Meus also on this date with the composer conducting, as does Martyn (p. 532). Keldysh (p. 43), however, referencing a review in Moskovskiye Vedomosti, notes praise for Rachmaninoff's contribution as both pianist and composer, not as a conductor. Keldysh further notes the Andante from Rachmaninoff's String Quartet, arranged for string orchestra, was performed, along with works by Konyus and Koreshchenko. Keldysh previously raised doubt (p. 39) about the performance of Deus Meus under Rachmaninoff's baton at this concert, and on the basis of the detailed review - which does not refer to any choral works - it might be presumed that the work was not performed. Val'kova (vol. 1, p. 90), however, cites a press notice in Moskovskiye Vedomosti on February 19 which refers to a different work for choir and orchestra, so it could also be possible that a choir, if present, performed Rachmaninoff's work. Val'kova also notes that a Scherzo by Rachmaninoff was announced in the press notice, presumably an orchestration of another movement from the String Quartet, yet it does not appear that it was performed. Performances by students in the violin class, the solo vocal class, as well as a work for harp and a work for clarinet, are noted in the review. The order of the works noted above, and the details of the other works on the program, are not known. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 17 1891 (Julian calendar)
Rachmaninoff's role: Chamber Musician
Notes: Satina indicated that this was a concert given by students of the Moscow Conservatory, however she gave the date as October 17. Threlfall and Norris similarly noted this performance (II/23), also on the date in October. Keldysh (p. 47) noted the movement from Arensky's First Suite, and gave the date as November 17, which is confirmed by Val'kova (vol. 1, p. 102) who cites a poster for the concert. Rachmaninoff had been ill in October, so the later date appears more reliable, however the History of Russian Music (vol. 10V, book 1, p. 23) lists the earlier date. Val'kova provides details for only the second section of the concert, which included works by Tchaikovsky and Mozart along with Rachmaninoff's Rhapsody. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 30 1892 (Julian calendar)
Rachmaninoff's role: Chamber Musician
Notes: Satina indicated that this was the first concert given by Rachmaninoff since receiving his diploma in 1891. She stated that the details of the program were copied from a mimeograph owned by Alexander Goldenweiser. It seems likely that the Liszt Waltz with which the concert ended was the transcription from Gounod's 'Faust', which concurs with Martyn (p. 426). Details regarding keys and opus numbers for other works are according to Martyn, although they were not known to Satina. Martyn was unsure about when Chopin's Etude in A flat major, op. 25, no. 1, was first played by Rachmaninoff, although he suggests that the Etude in A flat major, op. 10, no. 10, was played at this time. Val'kova (vol. 1, p. 107) indicates Chopin's B minor Scherzo was played after the Liszt Etude, not before it. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 17 1892 (Julian calendar)
Rachmaninoff's role: Concerto Soloist and Chamber Musician
Notes: Satina noted that this was a concert by students of the Conservatory, with ‘proceeds given to the needy students’. Satina also indicated that because of the lack of some instruments in the orchestra, Rachmaninoff accompanied Avierno in the Vieuxtemps concerto. Precise details of the works, including whether more than single movements were played, were not known by Satina, although Goldenweiser in his reminiscence of the composer wrote that only the first movement of Rachmaninoff's concerto was performed, as was also confirmed by Keldysh (p. 78) and Val'kova (vol. 1, p. 108). LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
September 26 1892 (Julian calendar)
Rachmaninoff's role: Concerto Soloist and Solo Pianist
Notes: Satina indicated that this was the first performance of the Prelude in C sharp minor, op. 3, no. 2. The concert was the ‘18th Symphony Concert' at the Electrical Exhibition in Moscow. Satina noted the exact order of the program was unknown, and that the details of works were copied from a review published in the journal ‘Artist’. In her 'reminiscence' of Rachmaninoff ('Vospominania'), Natalia - his wife - indicated that it was at this concert that she first heard him perform. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 28 1892 (Julian calendar)
Rachmaninoff's role: Solo Pianist and Chamber Musician
Notes: Satina referenced a photo of the program in Apetian, p. 89. The following short paragraph is included in Satina’s notes: “В письме к М.А. Слонову от 14 декабря 1892г. Рахманинов посылает ему программу концерта в Харькове, 28 декабря 1892г. В письме перечислены вещи, которые будут испольняться Рахманиновым. Не зная, повидимому, что будет петь Слонов, Рахманинов под номером 2 пишет в шутку: "Мишка Слонов доказывает земли вращение". Под номером 5: "Мишка Слонов доказывает всю несостоятельность доводов Деруледа в Панамской пертурбации." [“In a letter to M.A. Slonov from 14 December 1892 Rachmaninoff sends him the programme for the concert in Kharkiv, 28 December 1892. The letter lists all the works to be performed by Rachmaninoff. Not knowing, apparently, what Slonov was going to sing, Rachmaninoff writes under piece number 2 as a joke: "Mishka Slonov demonstrates the Earth's rotation". Under piece number 5: "Mishka Slonov proves all the inconsistencies in Deroulède's arguments relating to the Panama perturbation."] Threlfall and Norris identified this performance, along with details of the venue (which in English translates as the Hall of the City Duma). Details regarding key and opus number for certain works are according to Martyn, although they were not known to Satina. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 27 1893 (Julian calendar)
Rachmaninoff's role: Solo Pianist and Chamber Musician
Notes: Satina indicated that Rachmaninoff’s Morceaux de fantaisie, op. 3, were repeated at the audiences request. She also noted that the details of this concert were copied from Apetian, p. 83-84. Further details regarding keys and opus numbers are according to Martyn, although Satina was unaware of these. An image of the program appears in Val'kova (vol. 1, between pages 228 and 229). LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 29 1893 (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, noting also two works for cello and piano by Glazunov. Keldysh (p. 81) noted that the concert was a musical and literary evening in favour of the fund for sanitary canteens at the Moscow Assembly of Doctors. Val'kova (vol. 1, p. 124) notes the handwritten program in the RNMM, providing details only for the unnamed piano solo by Rachmaninoff, and the two works by Glazunov for cello (accompanied by Rachmaninoff), the cellist's name indicated as 'Mr. ***'.
March 30 1893 (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 an ‘Evening Program’ on this date. Keldysh (p. 81) noted that the concert was a spring costume evening at the Bolshoi Theatre in support of the Society for Assistance to Needy Stage Artists, which is supported by Val'kova (vol. 1, p. 129). The latter notes only a 'piano solo' by Rachmaninoff, but also indicates Brandukov played a solo work by Bach in the second part of the concert.
April 3 1893 (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) holds details of a ‘Literature and Musical Evening, Beneficiary Concert’ on this date. The concert is confirmed by Val'kova (vol. 1, p. 130), who also notes performances by Brandukov and Grzhimali.
April 17 1893 (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 ‘concert with reading’ on this date. The concert is confirmed by Val'kova (vol. 1, p. 130), who refers to it as a Literature Evening for the Literary-Artistic Circle, noting Rachmaninoff's 'piano solo' in the second part of the concert, also indicating that Grzhimali performed two violin solos in the first part.
October 18 1893 (Julian calendar)
Rachmaninoff's role: Conductor
Notes: Satina believed that this was Rachmaninoff’s first appearance as a conductor, although see also the concert on February 24, 1891, in which it is possible he conducted a performance of his choral work Deus Meus. Threlfall and Norris noted that the first complete performance of Aleko had been in Moscow, Bolshoi Theatre, April 27 1893, conducted by Ippolit Altani. The City Theatre stood on the site of the current Kyiv Opera House, constructed after a fire destroyed the old building in 1896. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 21 1893 (Julian calendar)
Rachmaninoff's role: Conductor
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.