Solo Pianist - Diary entries
Many of the initial performance details listed here were 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, especially substantial research that identified precise program details, 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), A Catalogue of the Compositions of S. Rachmaninoff by Robert Threlfall and Geoffrey Norris (Scolar Press: London, 1982), and research undertaken at the Glinka Museum of Musical Culture, Moscow.
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. Also attributable to 1886, Keldysh (p. 28) and Val'kova (vol. 1, p. 51) both note a performance by Rachmaninoff of Bach's English Suite in A minor at the Conservatory in the presence of A. Rubinstein, the latter highlighting an apparent inaccuracy of date in various historical sources.
November 19 1886 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: The Russian National Museum of Music (formerly known as the Glinka State Central Museum of Musical Culture) holds details of this concert, the occurrence of which is confirmed by Val'kova (vol. 1, p. 55), who notes that the event was a Student Evening recital. Whether the Prelude and Fugue was from Book I or II of the Well-Tempered Klavier has not been stated.
December 17 1886 (Julian Calendar)
Rachmaninoff's role: Solo Pianist
Notes: Val'kova (vol. 1, p. 55) indicates a performance at a Student Evening, naming the work by Henselt. Without supplying a precise date, Keldysh (p. 34) also indicated a performance of the work around this time.
November 2 1887 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Keldysh (p. 34) and Val'kova (vol. 1, p. 59) both indicate that the first movement of the Beethoven sonata was played by Leonid Maximov at this Student Evening concert.
December 4 1887 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Keldysh (p. 34) noted works by these composers, the precise details of which are given by Val'kova (vol. 1, p. 59). Val'kova, however, indicates the date as December 14, and it seems possible that a typographical error has arisen in one of the sources.
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.
October 3 1888 (Julian Calendar)
Rachmaninoff's role: Solo Pianist
Notes: Val'kova (vol. 1, p. 66) indicates Rachmaninoff's performance at this Senior Class Student Evening concert. It is not known from which book of the Well-Tempered Klavier the Prelude and Fugue was taken.
October 31 1888 (Julian Calendar)
Rachmaninoff's role: Solo Pianist
Notes: Val'kova (vol. 1, p. 67) lists Rachmaninoff's performance at a Student Evening on this date, which is not recorded in other sources. While the key of the concerto is indicated as 'E major', it is possible that the Concerto no. 2 in E flat major, op. 32, was performed.
November 6 1888 (Julian Calendar)
Rachmaninoff's role: Solo Pianist
Notes: Val'kova (vol. 1, p. 69) indicates Rachmaninoff performance at this Musical Morning for Conservatory students, which is not noted in other sources. She further indicates that he was the sixth performer on the program. Which book of the Well-Tempered Klavier the Prelude and Fugue was taken is not stated.
December 10 1888 (Julian Calendar)
Rachmaninoff's role: Solo Pianist
Notes: Val'kova (vol. 1, p. 67) lists this performance at a Musical Morning, which is not noted in other sources. Which of the two op. 27 Sonatas by Beethoven the movement was taken from is not stated. It is noted that Maximov also performed a work by Beethoven in the concert.
December 12 1888 (Julian Calendar)
Rachmaninoff's role: Solo Pianist
Notes: Val'kova (vol. 1, p. 68) indicates Rachmaninoff's performance in this Senior Class Student Evening concert, which Keldysh (p. 34) also noted without supplying a precise date. Keldysh also indicated a performance of Liszt's Ballade in B minor, however this is not mentioned by Val'kova.
September 26 1892 (Julian calendar)
Rachmaninoff's role: Concerto Soloist and Solo Pianist
Notes: Satina indicated 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 Exhibition in Moscow. Satina noted the exact order of the program was 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 - indicated that it was at this concert that she first heard him perform. 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. ***'.
March 30 1893 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: The Russian National Museum of Music (formerly known as the Glinka State Central Museum of Musical Culture) has details of an ‘Evening Program’ on this date. Keldysh (p. 81) noted that the concert was a spring costume evening at the Bolshoi Theatre in support of the Society for Assistance to Needy Stage Artists, which is supported by Val'kova (vol. 1, p. 129). The latter notes only a 'piano solo' by Rachmaninoff, but also indicates Brandukov played a solo work by Bach in the second part of the concert.
April 3 1893 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: The Russian National Museum of Music (formerly known as the Glinka State Central Museum of Musical Culture) holds details of a ‘Literature and Musical Evening, Beneficiary Concert’ on this date. The concert is confirmed by Val'kova (vol. 1, p. 130), who also notes performances by Brandukov and Grzhimali.
April 17 1893 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: The Russian National Museum of Music (formerly known as the Glinka State Central Museum of Musical Culture) has details of a ‘concert with reading’ on this date. The concert is confirmed by Val'kova (vol. 1, p. 130), who refers to it as a Literature Evening for the Literary-Artistic Circle, noting Rachmaninoff's 'piano solo' in the second part of the concert, also indicating that Grzhimali performed two violin solos in the first part.
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.
February 7 1894 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: The Russian National Museum of Music (formerly known as the Glinka State Central Museum of Musical Culture) has details of a ‘mixed concert’ on this date. Val'kova (vol. 1, p. 151) lists the concert, referring to Rachmaninoff playing a 'piano solo', although she also notes the date might be speculative: the concert program lists neither a date or venue, while an unknown hand (presumably an archive worker) has inscribed 'February 7' on the catalogue card.
February 15 1894 (Julian Calendar)
Rachmaninoff's role: Solo Pianist
Notes: Val'kova (vol. 1, p. 152) lists this concert, which is not noted in other sources. The event was a mixed concert of the Russian Choral Society, and Val'kova indicates the pieces played by Rachmaninoff were according to a report of the Russian Musical Society, while a press announcement she cites refers to Rachmaninoff playing a 'piano solo'.
February 21 1894 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina indicated that the incomplete program was from a concert in which Rachmaninoff also accompanied a singer. Val'kova (vol. 1, p. 153), citing a review, further identifies that Zinaida Aksena-Kretz sang a number of songs, Rachmaninoff accompanying only his, along with performing the piano solos. The other works performed at the concert, and their order, is unknown. 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.
February 11 1895 (Julian Calendar)
Rachmaninoff's role: Solo Pianist
Notes: Val'kova (vol. 1, p. 165) lists this concert, which is not noted in other sources. Citing a number of reviews, she indicates that the mixed concert was a benefit event for the Pharmaceutical Relief Fund, and featured various performers, as well as the Amateur Pharmaceutical Orchestra.
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.