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.
February 5 1929
Rachmaninoff's role: Solo Pianist
Notes: It is likely that the keys for the Chopin works were the same as performed in the same program in Cleveland, Boston and New York. The Scarlatti Sonata in D minor was presumably L. 413, which he recorded. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 8 1929
Rachmaninoff's role: Solo Pianist
Notes: It is likely that the keys for the Chopin works were the same as performed in the same program in Cleveland, Boston and New York. The Scarlatti Sonata in D minor was presumably L. 413, which he recorded. The attached review notes the encores as Rachmaninoff's transcription of Kreisler's Liebesleid, 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 10 1929
Rachmaninoff's role: Solo Pianist
Notes: It is likely that the keys for the Chopin works were the same as performed in the same program in Cleveland, Boston and New York. The Scarlatti Sonata in D minor was presumably L. 413, which he recorded. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 11 1929
Rachmaninoff's role: Solo Pianist
Notes: It is likely that the keys for the Chopin works were the same as performed in the same program in Cleveland, Boston and New York. The Scarlatti Sonata in D minor was presumably L. 413, which he recorded. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 13 1929
Rachmaninoff's role: Solo Pianist
Notes: While the attached image of the program refers to 'Sonata no. 14' by Mozart, this is presumed to be a misprint as the tempo indication for the final movement clearly relates to the Sonata in D major. A similar error appears to have occurred at the concert in New York on February 16. The Scarlatti Sonata in D minor was presumably L. 413, which he recorded. As the attached review notes, the Prelude in C sharp minor, op. 3, no. 2, replaced the Moment musical, op. 16, advertised in the press. Rachmaninoff's transcription of Rimsky-Korsakov's Bumble Bee and Tchaikovsky's Troika are noted as the encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 15 1929
Rachmaninoff's role: Solo Pianist
Notes: It is likely that the keys for the Chopin works were the same as performed in the same program in Cleveland, Boston and New York. The Scarlatti Sonata in D minor was presumably L. 413, which he recorded. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 16 1929
Rachmaninoff's role: Solo Pianist
Notes: As with the concert in Ann Arbor, MI, on February 13, the program appears to have included a misprint: while referencing 'Sonata no. 14' (C minor, K. 457), the tempo indications for the movements match the Sonata in D major, K. 576 (no. 18 in Mozart's catalogue). Neither Martyn or Apetian have identified the Sonata in C minor as being in Rachmaninoff's repertoire, and all of Satina's references to the Sonata in D major from this season appear without any indication of doubt. The Scarlatti Sonata in D minor was presumably L. 413, which he recorded. The attached image of the program appears with kind permission of the Carnegie Hall Rose Archives. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 22 1929
Rachmaninoff's role: Solo Pianist
Notes: Satina notes the word ‘manuscript’ for the piece by Medtner, likely indicating that it was unpublished at the time. The attached review lists the program which does not, however, include the works by Debussy or Scriabin. Rachmaninoff's transcription of Rimsky-Korsakov's Bumble Bee and the Prelude in C sharp minor, op. 3, no. 2, are noted as the encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 25 1929
Rachmaninoff's role: Solo Pianist
Notes: Satina notes the word ‘manuscript’ for the piece by Medtner, likely indicating that it was unpublished at the time. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 26 1929
Rachmaninoff's role: Solo Pianist
Notes: Satina notes the word ‘manuscript’ for the piece by Medtner, likely indicating that it was unpublished at the time. The second of the attached reviews notes the encores as being Tchaikovsky's Troika, the Prelude in C sharp minor, op. 3, no. 2, and Rachmaninoff's transcription of Kreisler's Liebesleid. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 27 1929
Rachmaninoff's role: Solo Pianist
Notes: Satina notes the word ‘manuscript’ for the piece by Medtner, likely indicating that it was unpublished at the time. The Prelude in C sharp minor, op. 3, no. 2, is noted as the last of four encores in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 28 1929
Rachmaninoff's role: Solo Pianist
Notes: Satina notes the word ‘manuscript’ for the piece by Medtner, likely indicating that it was unpublished at the time. Rachmaninoff's transcription of Kreisler's Liebesleid, Tchaikovsky's Troika, and the Prelude in C sharp minor, op. 3, no. 2, are noted as the encores in the second attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 3 1929
Rachmaninoff's role: Solo Pianist
Notes: Satina indicates that this concert began at 2.30pm. Satina notes the word ‘manuscript’ for the piece by Medtner, likely indicating that it was unpublished at the time. 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.
March 7 1929
Rachmaninoff's role: Solo Pianist
Notes: Satina notes the word ‘manuscript’ for the piece by Medtner, likely indicating that it was unpublished at the time. Rachmaninoff's Etude-Tableau is not mentioned in the attached review, yet it is listed on the program in the attached press clipping. The Prelude in C sharp minor, op. 3, no. 2, is noted as the encore. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 9 1929
Rachmaninoff's role: Solo Pianist
Notes: Satina notes the word ‘manuscript’ for the piece by Medtner, likely indicating that it was unpublished at the time. Chopin's Waltzes in E flat major and C sharp minor, the Prelude in C sharp minor, op. 3, no. 2, and Rachmaninoff's transcription of Rimsky-Korsakov's Bumble Bee are noted as the encores in the second attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 12 1929
Rachmaninoff's role: Solo Pianist
Notes: Satina notes the word ‘manuscript’ for the piece by Medtner, likely indicating that it was unpublished at the time. The Prelude in C sharp minor, op. 3, no. 2, is noted as one of the encores in the second attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 17 1929
Rachmaninoff's role: Solo Pianist
Notes: Satina notes the word ‘manuscript’ for the piece by Medtner, likely indicating that it was unpublished at the time. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 19 1929
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that the Chopin Waltz was in F major, however the first of the attached reviews notes A flat major. Tchaikovsky's Troika and the Prelude in C sharp minor, op. 3, no. 2, are noted among the encores. The Scarlatti Sonata in D minor is presumably L. 413, which he recorded. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 20 1929
Rachmaninoff's role: Solo Pianist
Notes: While the attached reviews and press clipping refer to Mozart's 'Sonata no. 14', the tempo indication for the final movement suggests that this was an error that has been noted at other venues, presumably a result of incorrect information being forwarded by Rachmaninoff's management. The Scarlatti Sonata in D minor is presumably L. 413, which he recorded. Tchaikovsky's Troika and Rachmaninoff's transcription of Rimsky-Korsakov's Bumble Bee are noted as the encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 21 1929
Rachmaninoff's role: Solo Pianist
Notes: It is likely that the keys for the Chopin works were the same as performed in similar programs in Cleveland, Boston and New York. The Scarlatti Sonata in D minor is presumably L. 413, which he recorded. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 23 1929
Rachmaninoff's role: Solo Pianist
Notes: The details for the Chopin works were not known to Satina, however the attached review indicates that the pieces were the same as performed in similar programs in Cleveland, Boston and New York. The Scarlatti Sonata in D minor is presumably L. 413, which he recorded. The Prelude in C sharp minor, op. 3, no. 2, is noted as the first of two encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
April 3 1929
Rachmaninoff's role: Solo Pianist
Notes: Satina notes the word ‘manuscript’ for the piece by Medtner, likely indicating that it was unpublished at the time. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
April 4 1929
Rachmaninoff's role: Solo Pianist
Notes: Satina notes the word ‘manuscript’ for the piece by Medtner, likely indicating that it was unpublished at the time. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
April 6 1929
Rachmaninoff's role: Solo Pianist
Notes: Satina notes the word ‘manuscript’ for the piece by Medtner, likely indicating that it was unpublished at the time. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
April 7 1929
Rachmaninoff's role: Solo Pianist
Notes: Satina notes the word ‘manuscript’ for the piece by Medtner, likely indicating that it was unpublished at the time. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 22 1929
Rachmaninoff's role: Solo Pianist
Notes: While Satina gave the key of the Chopin mazurka as B minor, a review in De Maasbode on October 23 indicates the correct key (this error might pertain to similar program details she provided around this time). The review further notes that Rachmaninoff's Prelude in C sharp minor, op. 3, no. 2, was one of three encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 28 1929
Rachmaninoff's role: Solo Pianist
Notes: While Satina indicated the key of the Chopin mazurka as B minor, that might be in error for B flat minor (see concert in Rotterdam on October 22). A review in Het Volk on October 30 noted four encores were played: a Chopin waltz, Rubinstein's transcription of the Turkish March from Beethoven's Ruins of Athens, Rachmaninoff's Prelude in C sharp minor, op. 3, no. 2, and his transcription of Rimsky-Korsakov's Bumble Bee. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 29 1929
Rachmaninoff's role: Solo Pianist
Notes: While Satina noted the key of the Chopin mazurka as B minor, that might have been in error for B flat minor (see concert in Rotterdam on October 22). LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 3 1929
Rachmaninoff's role: Solo Pianist
Notes: A Chopin waltz and the Prelude in C sharp minor, op. 3, no. 2, are noted in the attached review as two of three encores given at this concert. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 5 1929
Rachmaninoff's role: Solo Pianist
Notes: The program that Satina believed was played here was different to that outlined in The Scotsman in its review on November 6. Regarding Rachmaninoff's works, she understood that the Melody, op. 3, no. 3, Barcarolle, op. 10, no. 3, and a Moment musical were played, and that Liszt's Etude in D flat major appeared where the 'third' Sonetto del Petrarca was played. The review notes a Chopin Waltz in A flat major 'which is not often played in public', and the Prelude in C sharp minor, op. 3, no. 2, were played as encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.