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. Without supplying a precise date, he further notes that in 1886 Rachmaninoff performed Henselt's D major Etude. Potentially also attributable to 1886, Keldysh (p. 28) notes a performance by Rachmaninoff of Bach's English Suite in A minor at the Conservatory in the presence of A. Rubinstein, highlighting an apparent inaccuracy of date in Bertensson and Leyda.
November 19 1886 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: The Russian National Museum of Music (formerly known as the Glinka Museum) has details of this concert. Whether the Prelude and Fugue is from Book I or II of the Well-Tempered Klavier is not 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.
November 2 1887 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Keldysh indicates (p. 34) that the first movement of the Beethoven sonata was played by Leonid Maximov.
December 4 1887 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Keldysh (p. 34) notes that works by Schulhoff and Moszkowski were played at this student concert. He further indicates (pp. 35-36) that in 1888 Rachmaninoff played a Prelude and Fugue in C sharp major of Bach and Rubinstein's Etude in F minor, and at the end of the year the first movement of Beethoven's Sonata in D major, op. 28, and Liszt's Ballade in B minor, but does not provide dates.
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.
November 21 1888 (Julian calendar)
Rachmaninoff's role: Chamber Musician
Notes: Satina indicates that this was a student Concert ‘for the benefit of needy students’. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 12 1889 (Julian calendar)
Rachmaninoff's role: Chamber Musician
Notes: Keldysh (p. 36) indicates that a review in 'Teatr i Zhizi' (Theatre and Life) on March 14 noted the 'remarkable ensemble' of the musicians. Satina notes a performance of this work with Maximov on November 21, 1888.
November 16 1890 (Julian calendar)
Rachmaninoff's role: Chamber Musician
Notes: Satina notes that this was a concert in honour of Anton Rubinstein, celebrating ‘the 50th year of artistic activity’. 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 indicates 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, although at the Conservatory, with the composer conducting, as does Martyn (p. 532). Keldysh (p. 43), however, indicates the concert was held in the small hall of the Noble Assembly, referencing a review in Moskovskiye Vedomosti to confirm the location, which also praises Rachmaninoff's contribution as both pianist and composer. 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 and comprehensive review - which does not refer to any choral works - it must be presumed that the work was not 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 is not known. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 17 1891 (Julian calendar)
Rachmaninoff's role: Chamber Musician
Notes: Satina indicates that this was a concert given by students of the Moscow Conservatory. Threlfall and Norris similarly note this performance (II/23). Keldysh (p. 47) notes the movement from Arensky's First Suite, yet perhaps inadvertently references the date as November 17. 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 indicates that this was the first concert given by Rachmaninoff since receiving his 1891 diploma. She indicates 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, although he suggests that the Etude in A flat major, op. 10, no. 10 was played at this time. 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 notes that this was a concert by students of the Conservatory, with ‘proceeds given to the needy students’. Satina also notes that because of the lack of some instruments in the orchestra, Rachmaninoff accompanied Avierno in the playing of the Vieuxtemps. 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). 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 indicates 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 Exhibit in Moscow. Satina notes the exact order of the program remains 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 - indicates that it was at this concert that she first heard him perform on the piano. 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 references 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. 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 indicates that Rachmaninoff’s Morceaux de fantaisie, op. 3, were repeated at the audiences request. Satina also notes 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. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 29 1893 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: The Russian National Museum of Music (formerly known as the Glinka Museum) has details of a ‘Music and Literary Evening’ on this date, noting also two works for cello and piano by Glazunov. Keldysh (p. 81) notes that the concert was a musical and literary evening in favour of the fund for sanitary canteens at the Moscow Assembly of Doctors.
March 30 1893 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: The Russian National Museum of Music (formerly known as the Glinka Museum) has details of an ‘Evening Program’ on this date. Keldysh (p. 81) notes that the concert was a spring costume evening at the Bolshoi Theatre in support of the Society for Assistance to Needy Stage Artists.
April 3 1893 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: The Russian National Museum of Music (formerly known as the Glinka Museum) has details of a ‘Literature and Musical Evening, Beneficiary Concert’ on this date.
April 17 1893 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: The Russian National Museum of Music (formerly known as the Glinka Museum) has details of a ‘concert with reading’ on this date.
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. Threlfall and Norris note that the first complete performance of Aleko had been in Moscow, Bolshoi Theatre, April 27 1893, conducted by Ippolit Altani. 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.
November 30 1893 (Julian calendar)
Rachmaninoff's role: Chamber Musician
Notes: Satina indicates that this was the first performance of this work, as was also confirmed by Threlfall and Norris. Keldysh (p. 89) notes a positive review of the concert in Moskovkiye Vedomosti. 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 indicates 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 has added that the Elegy and Prelude from op. 3, and the Melody, Humorseque and Romance from op. 10 were performed, citing Apetian, p. 107. The concert would appear to be the first all-Rachmaninoff concert for the composer. 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 Museum) has details of a ‘mixed concert’ on this date.
February 21 1894 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina indicates that this incomplete program was from a concert in which Rachmaninoff also accompanied a singer. 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 Museum) has details of a ‘Music and Literary Evening’ on this date. The performance was not listed by Satina, however Keldysh (p. 91) confirms that it was the first performance of Rachmaninoff's op. 6.
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. Satina cites Apetian, p. 126, for the details of cities played on this tour. Rachmaninoff left the tour, according to Satina, in Smolensk on 24 November, and the Diary entry for that concert lists the further cities that were originally scheduled on the tour. The works performed with Tua have not been noted by Satina, although Martyn indicates that Beethoven's Kreutzer Sonata, and pieces by Vieuxtemps and Sarasate were played (p. 373). Martyn notes further solo piano pieces by Chopin, Liszt, Rubinstein and Arensky, while Keldysh (p. 95) provides further details. The order of the program (both solo and chamber works) is not known. 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 indicates 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.