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.
December 9 1921
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that the Chopin Waltz could be either op. 70, no. 3 or op. 64, no. 1, although the latter was by far the most frequently played at this time. Satina also noted that a review of the concert did not mention the Etude by Dohnányi, which was perhaps the same as the one attached here; it seems possible the work was not played. The review notes a Schubert Impromptu as an encore after the Grieg Ballade, two Chopin waltzes after the Chopin group, encores after Rachmaninoff's Polka, and a further half-dozen unnamed encores at the end. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 19 1921
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that two Etudes-Tableaux were on the program, however the attached reviews note the other works. A Chopin waltz and something not identified appears to have been given as encores after the Chopin group, according to the reviews, while Tchaikovsky's Troika was given as an encore at the end. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 30 1921
Rachmaninoff's role: Solo Pianist
Notes: Satina indicated that the Chopin Waltz could be either op. 70, no. 3 or op. 64, no. 1, although the latter appears to have been more frequently played at this time. About this concert, she wrote: ‘An incomplete program sent to us from Akron, OH, December 30, 1921, seems to indicate that the program was about the same as listed above. The works of Liszt, Grieg, Chopin, Rachmaninoff and Dohnányi were played.’ The attached review, while not naming specific pieces apart from the Tarantella of Liszt, appears to confirm Satina's thoughts. As the attached press clippings note, the concert had been postponed from the previous month due to illness. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 3 1922
Rachmaninoff's role: Solo Pianist
Notes: Both Satina and Apetian recognised this date but had few details. Fiona Maddocks notes a review appearing the following day in the New York Times, which indicated the concert was a fund-raiser for the Babies' Dairy Association. This review, which does not note what was played, along with two press clippings that outline the event, are attached. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 4 1922
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that Rachmaninoff's Elegy, op. 3, no. 1, was played at this concert, however the attached reviews indicate that it was the Prelude. The reviews also note that Chopin's Waltz in G flat major, op. 70, no. 1, was given as an encore after the Chopin group, while Tchaikovsky's Troika was played at the end of the recital. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 9 1922
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 11 1922
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 12 1922
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 14 1922
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 16 1922
Rachmaninoff's role: Solo Pianist
Notes: The attached review notes that Chopin's Waltz in E flat major, op. 18, was played as an encore after the Chopin group, while Debussy's Cakewalk and the transcription of Kreisler's Liebesleid were played at the end. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 17 1922
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 19 1922
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that this was the first concert where Rachmaninoff played his transcription of Bizet’s Minuet. The Handel Aria with variations was from Suite no. 5. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 20 1922
Rachmaninoff's role: Solo Pianist
Notes: The attached reviews note Mozart's Turkish Rondo as an encore after the Weber, and a Chopin waltz after the Chopin group - the second review refers to two waltzes from the op. 64 group, but it is not known which was programmed and which was given as an encore. Tchaikovsky's Troika and the transcription of Kreisler's Liebesleid were played at the end. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 23 1922
Rachmaninoff's role: Solo Pianist
Notes: The Handel Aria with variations was from Suite no. 5. Satina indicated that according to a review she was sent the Ballade was no. 3 in A flat major, the Nocturne was in D flat major, and the Polonaise was in A flat major, op. 53, which is also confirmed by the attached review. Chopin's Waltz in D flat major ('Minute'), op. 64, no. 1, and the transcription of Kreisler's Liebesleid are noted as the encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 24 1922
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that in Lincoln, NE, Rachmaninoff received the Honorary Degree of Doctor of Music, which is outlined in the attached press clipping. The attached reviews indicate that Mozart's Turkish Rondo was played as an encore after the Grieg Ballade, Chopin's Waltz in A flat major, op. 64, no. 3, was played after the Chopin group, while Tchaikovsky's Troika and Liszt's Grand galop chromatique were given at the end of the recital. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 25 1922
Rachmaninoff's role: Solo Pianist
Notes: The Handel Aria with variations was from Suite no. 5. The attached reviews note that Mozart's Turkish Rondo was played as an encore after the Weber, a further Chopin waltz was added after the Chopin group, and the transcription of Kreisler's Liebesleid was played at the end. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 27 1922
Rachmaninoff's role: Solo Pianist
Notes: The attached press notices indicate that the program for this concert was changed. The attached reviews indicate that Handel's Air and Variations ('Harmonious Blacksmith') was played as an encore after the Grieg Ballade, the Chopin 'Minute' Waltz was repeated and then followed with a Waltz in A flat major after the Scherzo, while at the end Tchaikovsky's Troika, the transcription of Bizet's Minuet, the Prelude in C sharp minor, op. 3, no. 2, and Debussy's Cakewalk were all played. All reviews refer to Rachmaninoff's Etude-Tableau as being in C major, although Satina believed it to be from op. 39. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 29 1922
Rachmaninoff's role: Solo Pianist
Notes: The Handel Aria with variations was from Suite no. 5. The first performance of Rachmaninoff's transcription of his song, 'Daisies', appears to have been at this concert, which the second attached press clipping indicates was a result of a change of program. In addition to the change in his own works, there was also a change to works by Liszt. The first attached review notes five encores: Mozart's Turkish Rondo (presumably after the Weber), a Chopin waltz (presumably after the Chopin group), Dohnányi's Etude, the transcription of Kreisler's Liebesleid, and the Prelude in C sharp minor, op. 3, no. 2, at the end of the recital. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 31 1922
Rachmaninoff's role: Solo Pianist
Notes: The Handel Aria with variations was from Suite no. 5. The first attached review indicates that Mozart's Turkish Rondo was played as an encore after the Weber, that Chopin's Waltz in G flat major, op. 70, no. 3, was played after the Chopin group, and that Tchaikovsky's Troika, the transcription of Kreisler's Liebesleid, and the Prelude in C sharp minor, op. 3, no. 2, were given as encores at the end. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 1 1922
Rachmaninoff's role: Solo Pianist
Notes: As the attached press clipping indicates, the advertised program was different to the one described in the attached reviews, with the Novelette of Schumann dropped, and the works by Liszt replaced by others. It is not clear whether the transcription of Bizet's Minuet was played or if it was also dropped. While encores after the first and second group are noted in the first attached review, the second review indicates a Chopin waltz after the Chopin group. The transcription of Kreisler's Liebesleid is noted as the encore at the end. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 2 1922
Rachmaninoff's role: Solo Pianist
Notes: The Polonaise could have been in C sharp minor, op. 26, no. 1, as Rachmaninoff played this 4 days later in Grand Rapids. Similarly, the Polonaise in A flat major, op. 53, was played in a concert on January 23. The first attached review indicates that Mozart's Turkish Rondo was played as an encore after the Weber, and that Liszt's Grand galop chromatique and the transcription of Kreisler's Liebesleid were played at the end. The attached press clipping indicates a change of program, which similarly occurred at the subsequent concert in Chicago. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 5 1922
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that Schumann's Novelette was played in place of the Beethoven Sonata, and that Liszt's Sonetto del Petrarca, no. 104, and the Grand galop chromatique ended the recital, however the attached press clipping indicates the works listed here. No review has so far been located. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 6 1922
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that a review she had been sent did not mention the Handel Aria with variations, nor the Rachmaninoff pieces listed in this program; rather, the Prelude in C sharp minor, op. 3, no. 2, and the Kreisler-Rachmaninoff Liebesleid were noted. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 7 1922
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that the Chopin Waltz could be either op. 70, no. 3 or op. 64, no. 1, and that the two Rachmaninoff etudes could be nos. 1 or 7, and nos. 2 or 6. The attached review, in referring to both as 'delightful', and to the one in A minor as a 'gay waltz', does not offer definitive proof, but, if the keys weren't changed, likely indicate op. 39, no. 1, and op. 39, no. 6. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 8 1922
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that a review she had been sent did not mention Handel’s Aria with variations, although it is noted in the attached reviews, and that the Bizet-Rachmaninoff Minuet was added to the program, which the reviews note was given as an encore after the Prelude in B flat major, op. 23, no. 2. The Prelude in C sharp minor, op. 3, no. 2, is noted as the last of the encores at the end of the recital. Satina was unaware that a Chopin polonaise was played, indicating instead her belief that the Scherzo in C sharp minor was heard. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 10 1922
Rachmaninoff's role: Solo Pianist
Notes: The attached review indicates that after the Beethoven Sonata the Turkish Rondo of Mozart was given as an encore, and that after the Chopin group Chopin's Waltz in A flat major, op. 64, no. 3, was played. At the end of the recital, Tchaikovsky's Troika, the transcription of Kreisler's Liebesleid, and Dohnányi's Etude were given as encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 14 1922
Rachmaninoff's role: Solo Pianist
Notes: Noteworthy is the mention in attached reviews that Prokofiev was also giving a recital in New York that day, while 'The Love for Three Oranges' received its first Metropolitan Opera House performance in the evening. Rachmaninoff's Prelude in C sharp minor, op. 3, no. 2, is noted as an encore. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 16 1922
Rachmaninoff's role: Solo Pianist
Notes: The first attached review indicates that a Chopin waltz was given as an encore after the Chopin group, while the Prelude in C sharp minor, op. 3, no. 2, was played at the end. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 18 1922
Rachmaninoff's role: Solo Pianist
Notes: The Prelude in C sharp minor, op. 3, no. 2, is noted as an encore in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 20 1922
Rachmaninoff's role: Solo Pianist
Notes: The first attached review indicates that one of Chopin's A flat major waltzes was given as an encore after the Chopin group, while the Prelude in C sharp minor, op. 3, no. 2, and the transcription of Kreisler's Liebesleid were played at the end. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.