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 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 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.
20 January 1917 (Julian calendar)
Rachmaninoff's role: Chamber Musician
Notes: Satina includes a photocopy of the program among her notes. The concert, which commenced at 8.30pm, was in the 'заль купеческаго собрания' (Hall of the Merchants' Assembly). LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
July 28 1917 (Julian calendar)
Rachmaninoff's role: Chamber Musician and Conductor
Notes: Marietta Shaginian records details of this concert in her recollection of Rachmaninoff (in 'Vospominania'). She notes that Rachmaninoff was not listed on posters for the concert, which occurred on the day of the 'Freedom Loan'. Koshetz at first sang with a different pianist, before Rachmaninoff appeared with her. It might be presumed that one or more songs from op. 38 were performed, given their concerts together the previous year. Shaginian further notes that Rachmaninoff conducted the Marseillaise in the second half of the concert. Boris Nikitin, in 'Two Lives' (p. 94), confirms these details, also noting that Rachmaninoff did not want to perform at the concert.
April 14 1919
Rachmaninoff's role: Chamber Musician
Notes: Satina indicated that this was a benefit concert, but she could find no further details. At present, no press material regarding an appearance by the two has been found, and some reports indicate that Casals may have been touring in Mexico at the time. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
April 7 1920
Rachmaninoff's role: Concerto Soloist and Chamber Musician
Notes: Satina indicated that this was a Rachmaninoff Festival Concert. Instead of The Bells, which was to have been conducted by Rachmaninoff, Damrosch conducted the Spring Cantata. The first attached review notes that Rachmaninoff had 'neurosis' of the arm, although both also indicate that Rachmaninoff felt unable to both conduct and play in the same concert. One of the songs appears to have been 'Spring Waters', op. 14, no. 11, while a further fourth song, which is noted as an encore, could have been op. 4, no. 4. Royal Dadmun is noted as a late replacement for Georges Baklanov. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
April 28, 1925
Rachmaninoff's role: Chamber Musician
Notes: This performance was not listed by Satina and, presumably, was therefore not included by Rachmaninoff in his notebook. Further doubt about Rachmaninoff's participation stemmed from him not being mentioned in the New York Times' review on April 29, and the noting of Paul Stassievitch appearing 'at short notice'; however it has been confirmed that Stassievitch replaced Alexander Siloti. Rachmaninoff performed two works with Auer in the first half of the concert.