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 22 1925
Rachmaninoff's role: Solo Pianist
Notes: Martyn (p. 434) indicates that the Schubert Impromptu was D. 899, no. 4. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 23 1925
Rachmaninoff's role: Solo Pianist
Notes: Martyn (p. 434) indicates that the Schubert Impromptu was D. 899, no. 4. Satina indicated that the program she had received was incomplete, however the attached review confirms the works she had listed. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 24 1925
Rachmaninoff's role: Solo Pianist
Notes: Martyn (p. 434) indicates that the Schubert Impromptu was D. 899, no. 4. Tchaikovsky's Troika and Rubinstein's transcription of the Turkish March from Beethoven's Ruins of Athens are noted as the encores in the third attached review. The second attached review states that Rachmaninoff was suffering from neuritis at this concert, and that some later concerts were cancelled. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 29 1925
Rachmaninoff's role: Solo Pianist
Notes: Martyn (p. 434) indicates that the Schubert Impromptu was D. 899, no. 4. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 30 1925
Rachmaninoff's role: Solo Pianist
Notes: Martyn (p. 434) indicates that the Schubert Impromptu was D. 899, no. 4. Rubinstein's transcription of the Turkish March from Beethoven's Ruins of Athens is noted as the second of two encores in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 2 1925
Rachmaninoff's role: Solo Pianist
Notes: Martyn (p. 434) indicates that the Schubert Impromptu was D. 899, no. 4. Tchaikovsky's Troika and Rubinstein's transcription of the Turkish March from Beethoven's Ruins of Athens are noted as the encores in the attached reviews. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 3 1925
Rachmaninoff's role: Solo Pianist
Notes: Martyn (p. 434) indicates that the Schubert Impromptu was D. 899, no. 4. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 4 1925
Rachmaninoff's role: Solo Pianist
Notes: Martyn (p. 434) indicates that the Schubert Impromptu was D. 899, no. 4. It is noted in the attached reviews that Rachmaninoff played an encore prior to intermission, a mazurka by Chopin in A minor. Encores are also noted at the end of the recital, while it is not clear if the Prelude in C sharp minor, op. 3, no. 2, was among these or one of the programmed numbers. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 9 1925
Rachmaninoff's role: Solo Pianist
Notes: Martyn (p. 434) indicates that the Schubert Impromptu was D. 899, no. 4. Satina indicated that Rachmaninoff’s Prelude in C sharp minor, op. 3, no. 2, was on the program for this concert, which is confirmed in the attached review. The encores are noted as Tchaikovsky's Troika, Rubinstein's transcription of the Turkish March from Beethoven's Ruins of Athens, and Rachmaninoff's transcription of Mussorgsky' Hopak. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 11 1925
Rachmaninoff's role: Solo Pianist
Notes: Martyn (p. 434) indicates that the Schubert Impromptu was D. 899, no. 4. A note in a press clipping from the Toronto Star appears to indicate that Rachmaninoff had played his Prelude in G minor, op. 23, no. 5, at this recital. Three encores are noted in the attached review, including Rubinstein's transcription of the Turkish March from Beethoven's Ruins of Athens. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 20 1927
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that the keys for the works by Chopin were not given in the review of this concert she had been sent, but she has presumed them to be the same as other performances on this tour. Two encores are noted in the attached review, but their details are not given. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 21 1927
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that the keys for the works by Chopin were not given in the review she had been sent of this concert, but that she has presumed them to be the same as other performances of the program. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 23 1927
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that according to a review she had been sent Rachmaninoff played the Chopin Nocturne in D flat major, and that Rachmaninoff’s Prelude was in G major, op. 32, no. 5. The Prelude in C sharp minor, op. 3, no. 2, is noted as the last of the encores in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 24 1927
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that Rachmaninoff’s Prelude was in C sharp minor, op. 3, no. 2. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 30 1927
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 3 1927
Rachmaninoff's role: Solo Pianist
Notes: A Chopin waltz and the Prelude in C sharp minor, op. 3, no. 2, are noted as encores in the attached reviews. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 6 1927
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 7 1927
Rachmaninoff's role: Solo Pianist
Notes: The Prelude in C sharp minor, op. 3, no. 2, and Rubinstein's transcription of the Turkish March from Beethoven's Ruins of Athens are noted among four encores in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 9 1927
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that the ‘Rachmaninoff Prelude was not the C sharp minor one’ in the program at this concert, which appears to be verified by the attached reviews. No encores are noted. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 10 1927
Rachmaninoff's role: Solo Pianist
Notes: Satina presumed the details of the Chopin Nocturne and Waltz to be the same as played in other concerts on this tour. The Prelude in C sharp minor, op. 3, no. 2, a Chopin waltz, and Rachmaninoff's transcription of Schubert's The Brooklet ('Wohin?) are noted as the encores in the second attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 13 1927
Rachmaninoff's role: Solo Pianist
Notes: Satina questioned the inclusion of the Liszt as it was not mentioned in the review she had been sent, although it is noted in the three that are attached. Two of the reviews indicate that there appeared to be no intermission at this concert; rather, Rachmaninoff is noted as leaving the stage - apparently briefly - after the first and second items. A Chopin waltz, Rachmaninoff's Prelude in C sharp minor, op. 3, no. 2, his transcription of Mussorgsky's Hopak, and Rubinstein's transcription of the Turkish March from Beethoven's Ruins of Athens are noted as the encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 14 1927
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 19 1927
Rachmaninoff's role: Solo Pianist
Notes: Satina writes that the Rachmaninoff Prelude was in G major, op. 32, no. 5, which is confirmed in the attached review from Olin Downes at the New York Times. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 21 1927
Rachmaninoff's role: Solo Pianist
Notes: The third of the attached reviews indicates that there was no intermission in this concert. Chopin's Waltz in E minor, op. posth., which Satina believed was played within the program, is noted in two of the attached reviews as an encore. The other encores were Rachmaninoff's transcription of Mussorgsky's Hopak, and the Prelude in C sharp minor, op. 3, no. 2. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 22 1927
Rachmaninoff's role: Solo Pianist
Notes: The Prelude in C sharp minor, op. 3, no. 2, is noted as the last of several encores in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 23 1927
Rachmaninoff's role: Solo Pianist
Notes: Satina writes that the Rachmaninoff’s Prelude was in G major, op. 32, no. 5, which is confirmed in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 3 1927
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 4 1927
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.
March 6 1927
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that works by Beethoven and Schumann replaced the Wanderer Fantasy, yet the attached reviews indicate the Schubert-Liszt indeed was performed. The Prelude in C sharp minor, op. 3, no. 2, is noted as an encore in the first attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 9 1927
Rachmaninoff's role: Solo Pianist
Notes: Satina indicated that Rachmaninoff also played one of his Preludes in this concert, which is confirmed by the attached press clipping and reviews. No keys were given for the Etudes-Tableaux on the program, but she has presumed them to have been the same as for other locations where Rachmaninoff performed this program. She believed that two Strauss-Tausig pieces closed the program, however it appears that Wahlstimmen was not played. Rubinstein's transcription of Beethoven's Turkish March from The Ruins of Athens is noted as the last of four encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.