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 23 1924
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 25 1924
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that two Chopin waltzes (C sharp minor, op. 64, no. 2, and A flat major) were included in the program, but the second attached review perhaps indicates they were encores. It is not known if they were played after the other Chopin pieces, as Satina imagined, or at the end of the recital. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 26 1924
Rachmaninoff's role: Solo Pianist
Notes: Satina wondered if Chopin's Scherzo no. 4 in E major was played at this recital, however the attached reviews indicate that it was not. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 30 1924
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 1 1924
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 2 1924
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 4 1924
Rachmaninoff's role: Solo pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89
December 5 1924
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 7 1924
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 8 1924
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89
December 9 1924
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 14 1925
Rachmaninoff's role: Solo Pianist
Notes: The attached reviews indicate that Rachmaninoff played the Gluck-Sgambatti Melodie as an encore after the Schumann Sonata, and Chopin's Waltz in C sharp minor, op. 64, no. 2, and the transcription of Mussorgsky's Hopak at the end of the recital. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 16 1925
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that this Friday concert was ‘by invitation’, and that she believed the Chopin Ballade was likely in A flat major, op. 47. The program had been sent to Satina by the Chief Usher of the White House, H. G. Grim, but is also confirmed in the first attached press clipping. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 17 1925
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 19 1925
Rachmaninoff's role: Solo Pianist
Notes: Encores are noted in the attached reviews both after the Schumann Sonata and at the end of the recital, however their details are not given. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 21 1925
Rachmaninoff's role: Solo Pianist
Notes: Two waltzes by Chopin are noted as the encores in the attached reviews. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 23 1925
Rachmaninoff's role: Solo Pianist
Notes: Rachmaninoff played the Gluck-Sgambatti Melodie as an encore after the Beethoven Sonata, as noted in the attached review, and a work by Chopin at the end. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 27 1925
Rachmaninoff's role: Solo Pianist
Notes: The first attached review notes an encore after the Schumann Sonata, the Gluck-Sgambatti Melodie. At the end of the recital, encores were a Chopin mazurka, Rachmaninoff's transcription of Mussorgsky's Hopak, Chopin's Waltz in C sharp minor, op. 64, no. 2, a Humoresque by Tchaikovsky, and Dohnányi's Etude. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 28 1925
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 30 1925
Rachmaninoff's role: Solo Pianist
Notes: A work by Chopin and Rachmaninoff's transcription of Mussorgsky's Hopak are noted among three encores in the attached review. In the attached press clipping, the piano used by Rachmaninoff to practise at his hotel is offered for sale. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 5 1925
Rachmaninoff's role: Solo Pianist
Notes: The first of the attached reviews notes Chopin's Waltzes in A flat major, op. 69, no. 1, and C sharp minor, op. 64, no. 2, Rachmaninoff's transcriptions of Mussorgsky's Hopak and Kreisler's Liebesleid, and the Prelude in C sharp minor, op. 3, no. 2, as the encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 6 1925
Rachmaninoff's role: Solo Pianist
Notes: According to the attached review, the order of Rachmaninoff's two compositions could have been reversed. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 9 1925
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 11 1925
Rachmaninoff's role: Solo Pianist
Notes: Satina believed only one work by Liszt was played, yet the attached brief review refers to two. Given its occurrence in similar programs, the Sonetto is also listed here. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 12 1925
Rachmaninoff's role: Solo Pianist
Notes: An unfortunate occurrence of billowing stage curtains is discussed in the second attached press clipping. In it, in response to being told that the small audience could not be moved closer to the stage, Rachmaninoff suggests inviting them to his hotel room. In the first attached press clipping, the Stockton Record makes an unfortunate typographical mistake in regard to the name of the location. The first attached review indicates that the Serenade was played in place of the advertised Etude-Tableau, and also notes encores, which might be determined as Liszt's transcription of Schubert's 'Das Wandern', a Chopin waltz, and Rachmaninoff's transcription of Mussorgsky's Hopak. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 13 1925
Rachmaninoff's role: Solo Pianist
Notes: Tchaikovsky's Troika and Rachmaninoff's transcription of a Kreisler piece (spelled 'Chrysler'), likely the Liebesleid, are noted as encores in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 14 1925
Rachmaninoff's role: Solo Pianist
Notes: Tchaikovsky's Troika is noted as an encore in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 15 1925
Rachmaninoff's role: Solo Pianist
Notes: The attached review from the San Francisco Examiner states that Rachmaninoff performed in the city in the previous season, however no sources record this event. The same review notes he played Chopin's Waltz in A flat major, op. 64, no. 3, as an encore after the Beethoven Sonata, but there is no mention of encores at the end of the recital. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 18 1925
Rachmaninoff's role: Solo Pianist
Notes: The second attached review indicates that Rachmaninoff played Tchaikovsky's Troika as an encore after the Schumann Sonata, and at the end of the recital played a Chopin waltz, his transcription of Kreisler's Liebesleid, his own transcription of Mussorgsky's Hopak, and Liszt's transcription of Schubert's 'Das Wandern'. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 19 1925
Rachmaninoff's role: Solo Pianist
Notes: Satina indicated the Chopin etude was possibly op. 25, no. 1. Tchaikovsky's Troika, a Chopin waltz, and Rachmaninoff's Prelude in C sharp minor, op. 3, no. 2, are noted as the encores in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.