Concerto Soloist - 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 Barrie Martyn’s book Rachmaninoff: Composer, Pianist, Conductor (Scolar Press: London, 1990), and A Catalogue of the Compositions of S. Rachmaninoff by Robert Threlfall and Geoffrey Norris (Scolar Press: London, 1982).
November 7, 1911
Rachmaninoff's role: Concerto Soloist and Solo Pianist
Notes: Satina indicated the keys of the Preludes noted here, however it is not clear from the first attached review if they were programmed or played as encores. In any event, the review notes that four were heard on the night. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 2 1911 (Julian calendar)
Rachmaninoff's role: Concerto Soloist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 18 1911 (Julian calendar)
Rachmaninoff's role: Concerto Soloist
Notes: The details of this concert have been corroborated by Andrianova-Ryadnova's memoir of Rachmaninoff in Georgia, and a review published in Kavkaz on November 20 (p. 3). Referring to ‘p. 660’ of the Russkaya Muzykal’naya Gazeta, Satina noted a possibility that Rachmaninoff also conducted his Second Symphony in this concert, however this was not the case, and would likely have made the concert overly long. Andrianova-Ryadnova indicates that the Prelude in C sharp minor, op. 3, no. 2, was played as an encore, which the review confirms but also adds 'several' encores were played. An interesting anecdote from Andrianova-Ryadnova concerns Stepan Mirzoev, the director of the Tbilisi branch of the Russian Music Society. He claimed that he persuaded Rachmaninoff to sell him the piano that he toured with, which later was sold to the Tbilisi Conservatory where it still resides. The anecdote is supported by an article on 'Music in Tbilisi 1870-1920' in Medium.com, although some sources indicate the exchange of piano occurred on one of the two later visits to Tbilisi. Attached is an image of the Bechstein piano in the Tbilisi Conservatory Museum. Some sources indicate that Josef Hofmann jointly participated in this concert, playing Rachmaninoff's Second Piano Concerto, however this is incorrect. Further, Andrianova-Ryadnova's memoir indicates Hofmann's Tbilisi concerts occurred on November 8, 10, 11, 13, 15 and 16 of 1911 (footnote no. 4). The State Theatre is now known as the Zacharia Paliashvili Tbilisi Opera and Ballet State Theatre. The city was known as Tiflis at the time of this concert. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 22 1911 (Julian calendar)
Rachmaninoff's role: Concerto Soloist
Notes: Apetian did not include this concert in her lists. A review in the Kharkovskiye Guberinya Vedomosti on November 24 indicates that Rachmaninoff played his Barcarolle, op. 10, no. 3, Polichinelle, op. 3, no. 4, the Polka de W.R., and Prelude in G minor, op. 23, no. 5, as encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 18 1911 (Julian calendar)
Rachmaninoff's role: Concerto Soloist
Notes: Satina indicated that this was the 6th Symphony Concert of the Moscow Philharmonic Society, also noting that as an encore Rachmaninoff played the Elegy, op. 3, no. 1, and ‘some Preludes from op. 23’. However, a review in Russkiye Vedomosti on December 20 states that the second encore was the Prelude in G sharp minor, op. 32, no. 12. Rachmaninoff also accompanied Evgenija Zbrueva in two encores: ‘The Soldier’s Wife’, op. 8, no. 4 and ‘Spring Waters’, op. 14, no. 11.
January 28 1912 (Julian calendar)
Rachmaninoff's role: Concerto Soloist
Notes: Satina indicated that this was the 9th concert in the season of Siloti’s concerts. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 2 1912 (Julian calendar)
Rachmaninoff's role: Concerto Soloist
Notes: Satina noted that this concert, which commenced at 1.30pm, was one of Kerzin’s concerts for the Society for the Lovers of Russian Music. She was aware only of the performance of Rachmaninoff's Second Concerto. The details of the other works on the program are according to a note to letter 458 in Literaturnoye nasledie (vol. 2, p. 389). LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 12 1912
Rachmaninoff's role: Concerto Soloist
Notes: Satina was unaware of the other orchestral works on the program. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 15 1912
Rachmaninoff's role: Concerto Soloist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 22 1912
Rachmaninoff's role: Concerto Soloist
Notes: The details of the orchestral works, of which Satina was unaware, are according to the attached press clipping and review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
April 5 1912 (Julian calendar)
Rachmaninoff's role: Concerto Soloist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 14 1913 (Julian calendar)
Rachmaninoff's role: Concerto Soloist
Notes: Satina indicated that, while she did not know the program for this concert, Rachmaninoff played his own works. Apetian noted a performance of Rachmaninoff’s Concerto no. 2 on this occasion, which is confirmed by the conductor Nikolai Malko in his contribution to Apetian's Vospominania [Memories], who also highlighted Rachmaninoff's trademark modesty when working with other musicians (in this instance, Malko described the conductor as 'very weak' (vol. 2, p. 251)). A Polish language review, for which I express gratitude to J. Falleyn, provides further information, although it is vague regarding the details of the 'orchestral fantasy' noted; in this regard, the History of Russian Music (vol. 10V, book 2, p. 469), citing Naumov, names it as The Rock, op. 7. The review indicates Rachmaninoff also played several of his Preludes, however it is not clear whether these were programmed or offered as encores. The order of the program is not known. Vilnius was known as Vilno at the time of the concert. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 17 1913 (Julian Calendar)
Rachmaninoff's role: Concerto Soloist and Solo Pianist
Notes: Satina cited as her reference for details of this concert Apetian (p. 480), and listed the date according to the Julian calendar, as also appears in Bertensson and Leyda (p. 186). In the Gregorian Calendar, this date was October 30. Keldysh (p. 347) indicated that The Rock, op. 7, was also performed in this concert, yet a photograph of the program a few pages later in his book does not include the work. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 18 1913 (Julian calendar)
Rachmaninoff's role: Concerto Soloist
Notes: Satina indicated that this was the 5th Symphony Concert of Koussevitzky's season. A review by Grigory Prokofiev in Russkiye Vedomosti on December 20 notes that the Prelude in G flat major, op. 23, no. 10, and Prelude in G sharp minor, op. 32, no. 12, were played as encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 21 1913 (Julian calendar)
Rachmaninoff's role: Concerto Soloist
Notes: Satina indicates that this was the 4th Symphony Concert of the season of the Moscow Philharmonic Society. Keldysh (p. 347) believes that the Concerto no. 3, op. 30, was also performed at this concert. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 10 1914 (Julian Calendar)
Rachmaninoff's role: Concerto Soloist and Solo Pianist
Notes: Apetian indicated that Rachmaninoff played some of his preludes and etudes-tableaux at this concert, but did not know which. Keldysh (p. 348) believed that Rachmaninoff's Concerto no. 2 was performed at this concert, however the performance of op. 30 is confirmed in the History of Russian Music (vol. 10V, book 2, p. 476). A note to letter 495 in Literaturnoye nasledie (vol. 2, p. 398) confirms op. 30, also stating that 'three etudes-tableaux' from op. 33, 'Lilacs', Barcarolle, op. 10, no. 3, and Polka de W.R. were played as solos. The order of the program is according to Rachmaninoff's letter to Zataevich (no. 495), which indicates 'solos' would be played after The Rock, op. 7, making it unclear whether the listed piano pieces were programmed, or whether all were given as encores (as the note to the letter appears to indicate). In the Gregorian Calendar, this date was January 23. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 27 1914
Rachmaninoff's role: Concerto Soloist and Solo Pianist
Notes: Satina indicated that this was a concert of the Liverpool Philharmonic Society, and was aware only of the performance of Rachmaninoff's concerto, which she mistakenly believed was the Third Concerto, op. 30. The further details are according to the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 29 1914
Rachmaninoff's role: Concerto Soloist and Solo Pianist
Notes: While Mottl's transcription of two movements from Rameau's Concerto in G minor for orchestra alone is not mentioned in the attached reviews, the Hallé Orchestra archive indicates that it was performed. There is discrepancy about which Preludes by Rachmaninoff were played, with the attached press clipping being at odds with the first attached review; the keys and order of the works are given according to the review. The Polka de W.R. is noted as an encore. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 1 1914
Rachmaninoff's role: Concerto Soloist and Solo Pianist
Notes: The image of the Westminster Gazette is used with kind permission of The British Library Board. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 22 1914 (Julian calendar)
Rachmaninoff's role: Concerto Soloist
Notes: Satina noted that the exact order of the program was unknown. She also indicated that ‘the proceeds are given to help the wounded soldiers’. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 24 1914 (Julian calendar)
Rachmaninoff's role: Concerto Soloist
Notes: Satina wrote that ‘the proceeds are given to help the wounded soldiers’. She also cited a reference to Apetian (p. 454) for details of the concert. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 26 1914 (Julian calendar)
Rachmaninoff's role: Concerto Soloist
Notes: Satina noted that the order of the program was unknown. She also indicated that ‘the proceeds are given to help the wounded soldiers’. The History of Russian Music (vol. 10V, book 2, p. 484) names the venue (Зал Миссури), which could be the former Opera House, now the home of the Kharkiv Philharmonic. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 27 1914 (Julian calendar)
Rachmaninoff's role: Concerto Soloist
Notes: Satina wrote that ‘the proceeds are given to help the wounded soldiers’. She cited a reference to Apetian (p. 454), also noting that Apetian’s date for this concert was incorrect, referencing, instead, ‘Rachmaninoff’s booklet’. The History of Russian Music (vol. 10V, book 2, p. 484) names the venue (Зал Миссури), which could be the former Opera House, now the home of the Kharkiv Philharmonic. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 8 1914 (Julian calendar)
Rachmaninoff's role: Concerto Soloist
Notes: Satina noted that owing to Rachmaninoff’s illness this concert, which was announced for December 3, was postponed to December 8. She also indicated that the previously announced work by Borodin – the unfinished ballet ‘Mlada’ – was not given. She concluded: ‘All proceeds will go to the All Russian union of Cities for supplying warm clothing to the Army.’ The venue of the concert is according to a note to letter 514 in Literaturnoye nasledie (vol. 2, p. 401), which also confirms the program. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 10 1914 (Julian calendar)
Rachmaninoff's role: Concerto Soloist
Notes: Satina notes that this was the 4th Symphony Concert in Koussevitzky’s season, starting at 8.30pm. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 6 1915 (Julian calendar)
Rachmaninoff's role: Concerto Soloist
Notes: The name of the venue is according to the History of Russian Music (vol. 10V, book 2, p. 490). LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 8 1915 (Julian calendar)
Rachmaninoff's role: Concerto Soloist
Notes: The name of the venue is according to the History of Russian Music (vol. 10V, book 2, p. 490). LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
September 26 1915 (Julian calendar)
Rachmaninoff's role: Concerto Soloist
Notes: Satina indicated that this ‘extra’ concert in Alexander Siloti’s season was dedicated to the memory of Alexander Scriabin. Barber, in his biography of Siloti, indicated Symphony no. 1, op. 26, as the first item on the program (p. 321). St Petersburg was known as Petrograd at this time. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 12 1915 (Julian calendar)
Rachmaninoff's role: Concerto Soloist
Notes: Satina indicated that this was the first concert of a Scriabin Cycle, and that it was held as a benefit in aid of Scriabin’s children. She also noted that, due to the war, audience members were allowed to listen to the final rehearsal on the previous day, October 11, for a small fee, the money raised being donated to ‘wounded men’. Reviews in Russkiye Vedomosti and Russkoe Slovo (both on October 13) indicate that Rachmaninoff played three encores, including Scriabin's Etudes in D sharp minor and C sharp minor. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 26 1915 (Julian calendar)
Rachmaninoff's role: Concerto Soloist
Notes: Satina’s notes indicated that she was unsure about which Rachmaninoff concerto was played, but ultimately concluded it was no. 2, which is also noted by Apetian. Satina was vague about the conductor, referring only to 'Mr Pyshnov', while both Apetian and Keldysh (p. 401) give the name as L.N. Pyshnov. The western version of his name, by which he became known, is given here. An advertisement for the concert in Kavkaz on October 25 provides the details of the program, which are supported by reviews in Sakhalkho Furceli (People's Paper), p. 3, and Kavkaz, p. 3, both on October 28. The second review indicates Rachmaninoff played Preludes in G sharp minor, op. 32, no. 12, and G minor, op. 23, no. 5, as encores. The State Theatre is now known as the Zacharia Paliashvili Tbilisi Opera and Ballet State Theatre. The city was known as Tiflis at the time of this concert. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.