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.
April 29 1933
Rachmaninoff's role: Solo Pianist
Notes: The Nachtstück could have been either no. 2 or no. 4. Satina notes that this was the first European performance of the Variations, op. 42. Threlfall and Norris also confirm the performance of op. 42, along with the first performance of the Gavotte and Gigue from Bach's E major Partita. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
May 3 1933
Rachmaninoff's role: Solo Pianist
Notes: The attached press clipping indicates the concert was for the benefit of the Belgian University Scholarship Fund under the patronage of the Belgian-Russian Committee for Aid to Russian students in Belgium. The Nachtstück could have been either no. 2 or no. 4. Satina believed the Schubert Impromptu was D. 935, no. 4, while Martyn (p. 434) indicates D. 935, no. 1. Satina believed that the Prelude in B minor, op. 32, no. 10, was played, however both attached reviews note a Prelude in 'B flat' - given their account of its character, it is clear that it must have been that in B flat minor, op. 32, no. 2. Satina noted that the ‘newspapers mentioned also the C sharp minor, op. 3, Prelude – perhaps this was given as an encore’, which is confirmed by the reviews, both of which recount the inclusion insightfully. A piece by Tchaikovsky and a Chopin waltz are also noted as encores in the second review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
May 5 1933
Rachmaninoff's role: Solo Pianist
Notes: The Nachtstück could have been either no. 2 or no. 4. Satina believed the Schubert Impromptu was D. 935, no. 4, while Martyn (p. 434) indicates D. 935, no. 1. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 9 1933
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that the Rondo by Schubert was the final movement of the Sonata, D. 850, which is confirmed by Martyn (p. 434). The Prelude in C sharp minor, op. 3, no. 2, a Chopin waltz, and Tausig's transcription of Schumann's Kontrabandiste, are noted as the encores in the attached reviews. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 10 1933
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that the Rondo by Schubert was the final movement of the Sonata, D. 850, which is confirmed by Martyn (p. 434). The attached press clipping indicates that this concert was a fundraiser for the Summit Home for Children. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 11 1933
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that the Rondo by Schubert was the final movement of the Sonata, D. 850, which is confirmed by Martyn (p. 434). LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 13 1933
Rachmaninoff's role: Solo Pianist
Notes: Satina was unable to locate precise details for this program, however a review indicates what was performed. Satina believed that the Rondo by Schubert was the final movement of the Sonata, D. 850, which is confirmed by Martyn (p. 434). The Prelude in C sharp minor, op. 3, no. 2, and a Chopin waltz are noted as the encores in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 16 1933
Rachmaninoff's role: Solo Pianist
Notes: The Rondo by Schubert was the final movement of the Sonata, D. 850. Given questions over which Beethoven Sonata was played the following night in Birmingham, the vague program reference here solely to 'op. 31' and the reference to the 'Allegro' opening movement in the attached review, it might be that the Sonata in G major, op. 31, no. 1, was played. Satina, however, believed that the Sonata in D minor, op, 31, no. 2, was played. The Prelude in C sharp minor, op. 3, no. 2, and Liszt's transcription of Wagner's Spinning Song are noted as encores in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 17 1933
Rachmaninoff's role: Solo Pianist
Notes: Satina was advised by the ‘Director of the Department of Archives and History of Alabama’ that Rachmaninoff played Beethoven’s Sonata in G major, op. 31, no. 1 at this concert. Satina notes that Rachmaninoff’s wife, who frequently accompanied him on tours, questioned this, but adds ‘we received later 3 printed programs from cities where this sonata has been played’. While Beethoven's Sonata in D minor, op. 31, no. 2, was a frequent inclusion in Rachmaninoff's programs at this time, and the sending of erroneous program information to concert promoters was not unknown, the reference in the attached review of the Birmingham Post-Herald to 'trills' in the first movement perhaps more likely indicates the Sonata in G major, op. 31, no. 1. Further, other review comments might seem to rule out the D minor Sonata; the reference in the review of the Birmingham News to 'A major' is unfortunate. Satina was unaware that a Schumann group was dropped for the works by Chopin. The Schubert Rondo was the final movement of the Sonata, D. 850. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 21 1933
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that the Rondo by Schubert was the final movement of the Sonata, D. 850, which is confirmed by Martyn (p. 434). She also believed that the Beethoven sonata was op. 31, no. 2, however given the indication of movement titles and the description of 'gentler attributes' in the first of the attached reviews, it appears likely that it was in G major, op. 31, no. 1, which seems to have been played in other concerts around this time. The first of the attached press clippings indicates the program was different to that advertised, which was to have included music by Schumann. Liszt's transcription of Wagner's Spinning Song, Tausig's transcription of Schumann's Kontrabandiste, 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.
November 24 1933
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that the Rondo by Schubert was the final movement of the Sonata, D. 850, which is confirmed by Martyn (p. 434). The Prelude in C sharp minor, op. 3, no. 2, is noted as one of the encores in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 27 1933
Rachmaninoff's role: Solo Pianist
Notes: Satina was unaware of the changes that were made to Rachmaninoff's program in Minneapolis. Chopin's B minor sonata, and a group of pieces by Schumann, were replaced by the Beethoven sonata and Chopin group, while Rachmaninoff's Variations, op. 42, were added. The Rondo by Schubert was the final movement of the Sonata, D. 850. The attached reviews note the encores as being Tchaikovsky's Troika, Rachmaninoff's transcription of Rimsky-Korsakov's Bumble Bee and the Prelude in C sharp minor, op. 3, no. 2. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 1 1933
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that the Rondo by Schubert was the final movement of the Sonata, D. 850, which is confirmed by Martyn (p. 434). The details of the Chopin Nocturne are according to the review, which also indicates one of Rachmaninoff's Preludes was in G minor (op. 23, no. 5). Tausig's transcription of Schumann's Kontrabandiste, 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.
December 3 1933
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that the Rondo by Schubert was the final movement of the Sonata, D. 850, which is confirmed by Martyn (p. 434). LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 5 1933
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that the Rondo by Schubert was the final movement of the Sonata, D. 850, which is confirmed by Martyn (p. 434). Tausig's transcription of Schumann's Kontrabandiste, Tchaikovsky's Troika, the Prelude in C sharp minor, op. 3, no. 2, and Rachmaninoff's transcription of Rimsky-Korsakov's Bumble Bee are noted as encores in the attached review. One of the press clippings indicates that the Variations on a Theme of Corelli were to be on the program, yet the review notes the music of Debussy. Borodin's Scherzo is not mentioned in the review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 7 1933
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that the Rondo by Schubert was the final movement of the Sonata, D. 850, which is confirmed by Martyn (p. 434). Tchaikovsky's Troika and the Prelude in C sharp minor, op. 3, no. 2, are noted as encores in the attached reviews, yet they differ as to whether Rachmaninoff's transcription of Rimsky-Korsakov's Bumble Bee or Mussorgsky's Hopak closed the concert. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 9 1933
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that the Rondo by Schubert was the final movement of the Sonata, D. 850, which is confirmed by Martyn (p. 434). LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 10 1933
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that the Rondo by Schubert was the final movement of the Sonata, D. 850, which is confirmed by Martyn (p. 434). LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 12 1933
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that the Rondo by Schubert was the final movement of the Sonata, D. 850, which is confirmed by Martyn (p. 434). She indicated that the Preludes by Rachmaninoff were not mentioned in the review she had been sent, which is similarly the case with the two that are attached. The Prelude in C sharp minor, op. 3, no. 2, is noted as one of the encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 15 1934
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that the Rondo by Schubert was the final movement of the Sonata, D. 850, which is confirmed by Martyn (p. 434). While she indicated that the program she was sent was incomplete, further details have been taken from the attached reviews and press clipping. Liszt's transcription of Wagner's Spinning Song, 'a piece by Schumann', 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.
January 16 1934
Rachmaninoff's role: Solo Pianist
Notes: The keys and other details of the Chopin group were not known to Satina, and are given here according to the attached review in the Cincinnati Enquirer. The Prelude in C sharp minor, op. 3, no. 2, was one of five encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 18 1934
Rachmaninoff's role: Solo Pianist
Notes: Satina writes that instead of the Chopin group listed in the program (and as given in Cincinnati, OH, two nights earlier), Rachmaninoff played the Chopin Sonata ‘in memory of Albert Lockwood, who from 1900 to 1933 was Head of [the] Piano Department of the University School of Music, and who died 9 November 1933’. Tchaikovsky's Troika, Rachmaninoff's transcriptions of Rimsky Korsakov's Bumble Bee and Mussorgsky's Hopak, and the Prelude in C sharp minor, op. 3, no. 2, are noted as encores in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 22 1934
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that the Rondo by Schubert was the final movement of the Sonata, D. 850, which is confirmed by Martyn (p. 434). Mistakenly, however, she believed that Debussy's Pour le piano was played rather than the Children's Corner Suite. Liszt's transcription of Wagner's Spinning Song, and the Prelude in C sharp minor, op. 3, no. 2, are noted as the encores in the attached review. As one of the attached press clippings indicate, it appears Rachmaninoff attended George Gershwin's concert in Masonic Temple the evening before his recital. Another press clipping indicates that this concert was rescheduled from an earlier date of February 5. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 8 1934
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that the Rondo by Schubert was the final movement of the Sonata, D. 850, which is confirmed by Martyn (p. 434). The Prelude in C sharp minor, op. 3, no. 2, is noted as one of several encores in an attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 9 1934
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that the Rondo by Schubert was the final movement of the Sonata, D. 850, which is confirmed by Martyn (p. 434). The Prelude in C sharp minor, op. 3, no. 2, is noted as one of the encores in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 11 1934
Rachmaninoff's role: Solo Pianist
Notes: A Chopin Mazurka, and Rachmaninoff's Humoresque and Prelude in C sharp minor, op. 3, no. 2, are noted as encores in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 25 1934
Rachmaninoff's role: Solo Pianist
Notes: As the attached press clippings indicate, this concert was rescheduled after Rachmaninoff cancelled due to illness on February 13. The Chopin Ballade is noted as no. 4 in F minor in one attached review, and as no. 1 in G minor in another. Of interest, Rachmaninoff played The Snow is Dancing from the Debussy suite (as indicated in one press notice) but omitted Serenade of the Doll (as noted in one of the reviews). Chopin's Nocturne in E flat major, op. 9, no. 2, 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 26 1934
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 9 1934
Rachmaninoff's role: Solo Pianist
Notes: Satina references a comment from Rachmaninoff's UK agent when explaining her inability find details for this concert, noting ‘Mr Tillett wrote that most of the programs of 1934-1935 were destroyed by bombs during the war’. However, the program can be reconstructed from the attached review. There are programmatic similarities with the recital in London the following day, and with later concerts in Paris and Liège. The concert began at 3pm. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 10 1934
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that this program, which was copied from a newspaper, indicated ‘Années de Pelerinage’ for the first work by Liszt, which she presumes to be the Sonetto, as played in other recitals at this time. This appears to be confirmed in the attached review by Neville Cardus. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.