Chamber Musician - Diary entries
Many of the performance details listed here have been 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 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 A Catalogue of the Compositions of S. Rachmaninoff by Robert Threlfall and Geoffrey Norris (Scolar Press: London, 1982), and from research undertaken at the Glinka Museum of Musical Culture, Moscow.
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.
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.
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.
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.
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.
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. ***'.
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.
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.
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.