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.
March 26 1898 (Julian Calendar)
Rachmaninoff's role: Chamber Musician
Notes: This date was not noted by Satina, however Val'kova (vol. 1, p. 216) includes it. Val'kova cites an entry in Taneyev's Diaries that outlines the performance and Rachmaninoff's participation, referring to it as an 'evening of Russian composers'. She states that it was not possible to find a program for the concert, and no press notices are cited.
September 16 1898 (Julian Calendar)
Rachmaninoff's role: Chamber Musician
Notes: Rachmaninoff's travels to Crimea with Chaliapin and other singers are noted in various sources, however specific details of performances are recorded by Val'kova (vol. 1, pp. 222-224). While she notes that Rachmaninoff's name was not mentioned in any of the press notices about concerts, she cites other press and biographical sources that conclusively place him with the group of Russian Private Opera singers. The Chronicle of Life and Works of Chaliapin (1984) similarly includes details, also naming a concert in Sevastopol on September 23 (pp. 126-127). A press announcement in Moskovskiye Vedomosti on September 13 is cited, which names Rachmaninoff along with the singers. The concerts on September 16, 18, 21 and 23 are supported by notices in the Crimean Courier, and are listed here. It seems likely that other concerts planned for Kharkiv, Kyiv and Odesa also took place, based on the reminiscence E.R. Winter-Rozhanskaya in Vospominania (vol. 2, p. 24), who reflects personally on a concert in Alupka, apparently the last on the tour, however no further dates have been given. Winter-Rozhanskaya notes that by the final concert Rachmaninoff played everything 'by heart' ['Но Сергей Васильевич играл все наизусть, и даже при аккомпанементе свечи ему не понадобились'].
September 18 1898 (Julian Calendar)
Rachmaninoff's role: Chamber Musician
Notes: Val'kova (vol. 1, p. 223) cites a press notice in Crimean Courier on September 17 to verify this performance.
September 21 1898 (Julian Calendar)
Rachmaninoff's role: Chamber Musician
Notes: Val'kova (vol. 1, p. 223) cites a press notice in Crimean Courier to verify this concert, also indicating that Malinin's name was not mentioned in regard to this event.
September 23 1898 (Julian Calendar)
Rachmaninoff's role: Chamber Musician
Notes: While neither Satina nor Val'kova included this concert, the Chronicle of Life and Works of Chaliapin (p. 127) lists it, which is also supported by a mention in the History of Russian Music (vol. 10V, book 2, p 237). Part of a review in the Crimean Courier on September 29 is quoted in the Chronicle.
December 15 1899 (Julian calendar)
Rachmaninoff's role: Chamber Musician
Notes: Satina provided the complete program, noting that Rachmaninoff accompanied Chaliapin and Bremsen. Val'kova (vol. 1, p. 243) includes part of the program. The concert was held under the auspices of the Ladies’ Committee for Prisoner Welfare. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 17 1900 (Julian calendar)
Rachmaninoff's role: Conductor and Chamber Musician
Notes: Details of this concert are in the Russian National Museum of Music (formerly known as the Glinka Museum). Neither Satina nor Martyn list the event. Songs and arias with Chaliapin could be similar to works performed in concerts on March 9 and December 2 later this year.
March 9 1900 (Julian calendar)
Rachmaninoff's role: Chamber Musician
Notes: Satina cites Apetian, p. 183, and notes that it was the first performance of ‘Fate’. Satina believed there was a possibility that dates have been mixed with this concert, and it could have occurred on September 3 1900, yet the date of March 9 is confirmed by Keldysh (p. 167). Martyn (p. 435) lists 'Aus meines Tränen spriessen' from Dichterliebe in place of 'Ich hab' im Traum geweinet'. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 2 1900 (Julian calendar)
Rachmaninoff's role: Concerto Soloist and Chamber Musician
Notes: Satina noted that this was a symphony concert held under the auspices of the Ladies’ Committee for Prisoner Welfare. She also noted that the order of compositions performed is unknown. This was the first performance of the two movements from the Second Piano Concerto. Details of additional songs by Rimsky-Korsakov, Dargomyzhsky, Schumann and Grieg performed by Chaliapin and Rachmaninoff are according to Chronicle of Life and Works F.I. Chaliapin (p. 159). LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 24 1901 (Julian calendar)
Rachmaninoff's role: Chamber Musician
Notes: Satina indicated that this was the 3rd concert of the season of the Philharmonic Society, citing Apetian (p. 197) as her reference. This was the first performance of Rachmaninoff’s Suite no. 2. A review in Novosti Dnya on November 26 indicates that songs by Tchaikovsky, Davidov, and Rimsky-Korsakov were performed by Barsukov. The exact order of the program is unknown at present. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 2 1901 (Julian calendar)
Rachmaninoff's role: Chamber Musician
Notes: Satina noted that this concert, held under the auspices of the Ladies’ Committee for Prisoner Welfare, was the first performance of Rachmaninoff’s Sonata for piano and cello, op. 19. As Apetian's note to letter 191 in Literaturnoye nasledie indicates (vol. 1, p. 566), it appears Rachmaninoff continued to work on the sonata, the completion date on the manuscript being December 12. Keldysh (p. 172) noted Ysaÿe's performance of the Vieuxtemps concerto, citing a review that indicated Rachmaninoff's accompaniment 'exceptionally compensated' for the absence of an orchestra. The review appears to be from Moskovskiye Vedomosti on December 4, which suggests that a Romance by Beethoven was also performed by Ysaÿe and Rachmaninoff. The order of the program is unknown. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 3 1902 (Julian Calendar)
Rachmaninoff's role: Chamber Musician
Notes: While neither Satina nor Apetian note this concert, Keldysh (p. 200) indicates this was an 'open concert' for the Evenings of Contemporary Music.
February 9 1903 (Julian calendar)
Rachmaninoff's role: Chamber Musician
Notes: Satina noted that this mixed concert was held under the auspices of the ‘Society for Improving the Conditions of Teacher’s Life in Moscow Public Schools’, and that V. Petrovna, Antonina Nezhdanova, and Leonid Sobinov also took part. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 10 1903 (Julian calendar)
Rachmaninoff's role: Solo Pianist and Chamber Musician
Notes: Satina notes that this was a concert held under the auspices of the Ladies Committee for Prisoner Welfare. Satina cites Apetian, p. 221-222, as her reference. Threlfall and Norris note that this was the first performance of Rachmaninoff's op. 22. Keldysh (p. 205) indicates that N.I. Zabela-Vrubel sang some of Rachmaninoff's songs, along with Petrovna, which is supported by Martyn (p. 432), although the latter does not list the performance of Rachmaninoff's songs. Keldysh quotes from a review indicating that the Prelude in D major was played rather than the Prelude in B flat major. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 13 1903 (Julian calendar)
Rachmaninoff's role: Conductor and Chamber Musician
Notes: Satina was unaware of the complete program, which is given in full in Barber's biography of Siloti (p. 263). LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 16 1904 (Julian calendar)
Rachmaninoff's role: Chamber Musician
Notes: Satina notes that this was a benefit concert held under the auspices of ‘the Society for the Aid of needy Medical Students – Attendants at the Old St Catherine’s Hospital’. Satina also indicates that this was the first performance of the work by Glazunov. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 18 1904 (Julian calendar)
Rachmaninoff's role: Chamber Musician
Notes: Satina notes that this was the first appearance of Rachmaninoff in one of Kerzin’s concerts. Satina cites Apetian, p. 230, as her reference. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 28 1908 (Julian calendar)
Rachmaninoff's role: Chamber Musician
Notes: Satina was unaware of the details of the quartets on the program, which are given according to the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 2 1908 (Julian calendar)
Rachmaninoff's role: Conductor, Concerto Soloist and Chamber Musician
Notes: Satina notes that this was the 5th Symphony Concert of the Moscow Philharmonic Society, and that it was the first time Rachmaninoff’s Second Symphony was heard in Moscow. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 3 1908 (Julian calendar)
Rachmaninoff's role: Chamber Musician
Notes: Satina noted that this was the 7th of Kerzin’s Concerts, her reference being Apetian, p. 322. The attached review indicates that in the second section of the concerts songs by Zolotarev were also performed. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 14 1908 (Julian Calendar)
Rachmaninoff's role: Conductor and Chamber Musician
Notes: Satina noted that this was a Symphony Concert of the Philharmonic Society, and that it was the first performance in Warsaw of Rachmaninoff’s Second Symphony. I am grateful to J. Falleyn for providing the translation of the attached review, which has clarified confusion regarding the date (likely stemming from the misattribution of Gregorian and Julian Calendars) and matters relating to the program. Martyn provided a different order of the works to Satina and, like Keldysh (p. 286), included a performance of Lisa's aria from Tchaikovsky's Queen of Spades, also noting that Rachmaninoff accompanied two of his songs (p. 548), 'Spring Waters' and 'By My Window'. Martyn believed that the second pianist in the Suite was Aleksander Mikhaiłowski, however Keldysh and the attached review confirm it was Henryk Melcer. A further review by Zataevich in the Warsaw Diary (Varshavskiy Dnevnik) on March 18 notes the inclusion of the short work by Lyadov as the penultimate item on the program, an arrangement of the Intermezzo for piano, op. 8, no. 1, the composer's name also indicated in the attached press clipping. In the Gregorian Calendar, the date of this concert was March 27. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 2 1908
Rachmaninoff's role: Chamber Musician
Notes: The performance of the Piano Trio was part of a chamber music concert given by the Czech Quartet. The attached review indicates that a Haydn String Quartet in 'A minor' was played in the second half of the concert, however the composer does not appear to have written a quartet in that key. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 7 1909 (Julian calendar)
Rachmaninoff's role: Chamber Musician and Solo Pianist
Notes: Satina noted that this was Alexander Siloti’s 3rd Chamber Music Concert of the season. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 3 1910
Rachmaninoff's role: Solo Pianist and Chamber Musician
Notes: Apetian identified a program for this concert, indicating that it was the same as for Boston on January 10 but without the D minor Sonata. The attached press clipping names the artists and location (misidentified by Satina as the Hotel Astoria), but provides no details about the musical works. It is not known if Rachmaninoff also accompanied singers in his songs, as Satina and Apetian both believed. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 9 1910
Rachmaninoff's role: Solo Pianist and Chamber Musician
Notes: Satina noted that this was a ‘Grand Sunday Concert’, and that other singers also performed with the Metropolitan Opera Orchestra. According to Apetian, one of the songs was Spring Waters, op. 14. The first attached review indicates that Adamo Didur also sang two songs by Rachmaninoff, while the second review appears to indicate otherwise. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 6 1910 (Julian calendar)
Rachmaninoff's role: Concerto Soloist and Chamber Musician
Notes: Satina noted that this was the 7th of Alexander Siloti’s Symphony Concerts of the season. She also indicated that the program previously announced had been changed: ‘Rachmaninoff’s concerto no. 3 was cancelled because the score and orchestral material did not come back in time from America. Same about the Isle of the Dead.’ LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 4 1910
Rachmaninoff's role: Chamber Musician and Piano Soloist
Notes: Satina was unable to find details of the other performers, or of the piano solos, but these have been supplied according to a newspaper review. Translation of review: copyright J. Falleyn. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 17 1910 (Julian calendar)
Rachmaninoff's role: Solo Pianist and Chamber Musician
Notes: Satina indicated in her notes that, perhaps surprisingly given his concert career to date, this was the first complete solo recital given by Rachmaninoff in Russia. She was unable to provide other details of works on the program apart from the First Piano Sonata. Apetian, however, who believed incorrectly that this concert occurred on December 19 (Julian Calendar), stated that the Songs, op. 26, were also performed. The History of Russian Music, Vol. 10V, book 2, p. 416) confirms the date of December 17, also indicating the participation of the singer V.F. Pushechnikova, which gives weight to Apetian's indication, and negates Satina's supposition. In a note to letter 432 in Literaturnoye nasledie (vol. 2, p. 383), confirmation of the participation of Pushechnikova is noted through citing a review in Kamsko-Volzhskaya Rech on December 19, along with other details of the program listed here. The note states that neither the titles of the songs nor the keys of the preludes were given in the review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 10 1911 (Julian calendar)
Rachmaninoff's role: Chamber Musician
Notes: Satina notes that this concert was arranged (perhaps by Siloti) in memory of Vera Komissarzhevskaya. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 18 1911
Rachmaninoff's role: Solo Pianist and Chamber Musician
Notes: Satina noted that her information for this concert in the Felix Corbett series was sent to her by Mr J. Tillet. She further noted that in Rachmaninoff’s notebook he wrote that he played ‘only 2 piano solos’, but in a later typewritten comment pondered that it was ‘possible he meant he appeared twice’. While Satina noted the Schubert she didn't indicate Rachmaninoff's participation, yet from a review in the Teeside Weekly Herald from October 21 it is apparent that the performance of Schubert's Rondo in B minor for violin and piano was performed by him with Fritz Kreisler, which would seem to be both the first time the two played together, and the only known time they did so in a public concert. The exact order of the program is not known, and difficult to determine from the review, which also notes the Prelude in C sharp minor, op. 3, no. 2, was repeated as an encore. Rachmaninoff corresponded with R.L. Ibbs in February 1911 regarding this concert, the letter appearing in Christopher Fifield's 2005 biography of Ibbs & Tillett, subsequently published in Lyudmila Kovalyova-Ogorodnova's 2015 two-volume biography of Rachmaninoff. The letter in Fifield's book, translated from the German original, appears twice: on p. 533, Rachmaninoff is quoted as indicating that after playing two movements from his First Sonata and some early smaller works he could instead perform his 'Second sonata' and some preludes, which Kovalyova-Ogorodnova interprets as evidence the later sonata was composed as early as 1911 (vol. 2, p. 174). However, on p. 77 the translation appears more plausibly: '...the programme is as follows: 1) Adagio and Finale from the piano sonata in D minor, 2) Elegie, Prélude, Melodie, Polichinelle Op. 3, Barcarolle, Humoresque Op. 10 but add that I can substitute the two pieces from the sonata with 6 Preludes from Opp. 23 and 32.' While ultimately the Sonata no. 1 was not played at this concert, it is of interest that at the time he proposed playing only its second and third movements. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.