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 7 1913 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: No program details. Satina indicates that in this concert he would have played his own works. In other programs of this time, he frequently played his Piano Sonata no. 2 in B flat minor, op. 36. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 9 1913 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina's limited information regarding this concert has been confirmed and expanded through a review in Kavkaz on November 12 (p. 3). The review notes that Rachmaninoff played for a capacity audience with many people turned away, and that he played several of his works as encores. A press notice in Kavkaz on the day of the concert indicates the grand piano was supplied by Bechstein. The Hall of the Society of Artists, also referred to as the 'salon' of Elizabeth Orbeliani, appears to have been her home, known as the Orbeliani Palace. This building is now the official home of the Georgian President, located on Atoneli St in central Tbilisi. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 13 1913 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: No program details. Satina indicates that in this concert he would have played his own works. In other programs of this time, he frequently played his Piano Sonata no. 2 in B flat minor, op. 36. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 17 1913 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: No program details. Satina indicates that in this concert he would have played his own works. In other programs of this time, he frequently played his Piano Sonata no. 2 in B flat minor, op. 36. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 23 1913 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that this was Alexander Siloti’s 3rd concert of the season. Satina also indicates that it was the first time that the Sonata no. 2, and the Polka de WR, were heard in St Petersburg. A reference to Apetian is cited, p. 442. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 3 1913 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that this was Alexander Siloti’s 3rd concert of the season. Satina also indicates that it was the first time that the Second Piano Sonata, and the Polka de WR, were heard in Moscow. A reference to Apetian is cited, p. 442. Threlfall and Norris claimed that this was the first performance of Rachmaninoff’s Sonata no. 2, however previous dates on this tour for which program details are known indicate this not to be the case. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 8 1913 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina indicates that the proceeds from this recital were given ‘to the needy Students of Moscow Women’s College’. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 10 1914 (Julian Calendar)
Rachmaninoff's role: Concerto Soloist and Solo Pianist
Notes: Apetian indicates that Rachmaninoff played some of his preludes and etudes-tableaux at this concert, but does not know which. Keldysh (p. 348) believed that Rachmaninoff's Concerto no. 2 was performed at this concert. In the Gregorian Calendar, this date was January 23. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 27 1914
Rachmaninoff's role: Concerto Soloist and Solo Pianist
Notes: Satina indicated that this was a concert of the Liverpool Philharmonic Society, and was aware only of the performance of Rachmaninoff's concerto, which she mistakenly believed was the Third Concerto, op. 30. The further details are according to the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 28 1914
Rachmaninoff's role: Solo Pianist
Notes: Satina provided an insight into Rachmaninoff when she observed the following: ‘in S. Rachmaninoff book it is written that he played January 15, 1914. Mr J. Tillett writes to S.S. that the concert was given January 28. It is correct in both cases, S.R. used apparently the date according to the old calendar’. Satina also notes that it was a recital arranged ‘by the Gentlemen’s Concerts’. This was a 'mixed' concert, at which Esta D'Argo also sang a selection of songs with the accompaniment of R.J. Forbes. The attached reviews indicate that the Prelude in C sharp minor, op. 3, no. 2, was played, presumably as an encore. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 29 1914
Rachmaninoff's role: Concerto Soloist and Solo Pianist
Notes: While Mottl's transcription of two movements from Rameau's Concerto in G minor for orchestra alone is not mentioned in the attached reviews, the Hallé Orchestra archive indicates that it was performed. There is discrepancy about which Preludes by Rachmaninoff were played, with the attached press clipping being at odds with the first attached review; the keys and order of the works are given according to the review. The Polka de W.R. is noted as an encore. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 30 1914
Rachmaninoff's role: Solo Pianist
Notes: Satina indicated that this was the 6th concert of the Bradford subscription series season, although she did not note that it was a mixed concert with others performing. The second attached review indicates that the Sonata in D minor, op. 28, was performed, and not the one in B flat minor, yet in giving the tempo indications mainly names those of the later work. There is no apparent reason for this confusion, and the first attached review refers to the program as it appears here. Satina notes the first Prelude as being in E major, however the first review indicates that the one in C sharp minor was substituted for it. The Melody, op. 3, no. 3, was given as an encore. The images of the Bradford Daily Argus and the Bradford Daily Telegraph are used with kind permission of The British Library Board. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 1 1914
Rachmaninoff's role: Concerto Soloist and Solo Pianist
Notes: The image of the Westminster Gazette is used with kind permission of The British Library Board. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 3 1914
Rachmaninoff's role: Solo Pianist
Notes: Satina was unable to find program details for this concert, however they can reconstructed from the attached review. The exact order of the program is not known. The Polka de W.R. and a 'delightfully Chopinesque waltz' are noted as encores from Rachmaninoff. The images of the Sheffield Independent and the Sheffield Daily Telegraph are used with kind permission of The British Library Board. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 4 1914
Rachmaninoff's role: Solo Pianist
Notes: While Satina was unable to find program details, a press announcement in the Nottingham Daily Express indicates the concert was likely the same as the concert the previous day in Sheffield, with the same artists performing. The works by Rachmaninoff are noted in the announcement. The attached press clipping (under response to 'G. W. M.') indicates that Rachmaninoff played the Polka de W.R. and the Prelude in G flat major, op. 23, no. 10, as encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 9 1914
Rachmaninoff's role: Solo Pianist
Notes: While Satina had no details for this concert, the program has been partially reconstructed from the attached reviews. The Polka de W.R. was given as an encore. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 17 1915 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that this was an all-Rachmaninoff recital program. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 20 1915 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that this was an all-Scriabin recital program. About the program at this concert, Keldysh (p. 402) includes the Second and Fifth Sonatas, the Satanic Poem, 10 preludes from op. 11, and etudes from op. 8 and op. 42. The programs from later in the season in Moscow and St Petersburg, as supplied by Satina, agree in these details but add further works by Scriabin (although she does not include etudes from op. 8). LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 24 1915 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that this was an all-Rachmaninoff recital program. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 29 1915 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: While Satina noted only that this was an all-Rachmaninoff recital program, the program details have been taken from a review in Kavkaz on October 31, p. 3. The keys of the Preludes are possibly the same as later all-Rachmaninoff programs in Moscow and St Petersburg. The Polichinelle, op. 3, no. 4, and the Polka de W.R. are noted as among the encores. The Hall of the Society of Artists, also referred to as the 'salon' of Elizabeth Orbeliani, appears to have been her home, known as the Orbeliani Palace. This building is now the official home of the Georgian President, located on Atoneli St in central Tbilisi. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 31 1915 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: While Satina noted only that this was an all-Scriabin recital program, the details have been taken from a review in Kavkaz on November 3, p. 4. While opus numbers and keys of the preludes and etudes are not stated in the review, they are presumed to be the same as later concerts in Moscow and St Petersburg. The Hall of the Society of Artists, also referred to as the 'salon' of Elizabeth Orbeliani, appears to have been her home, known as the Orbeliani Palace. This building is now the official home of the Georgian President, located on Atoneli St in central Tbilisi. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 3 1915 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina indicates that this was an all-Scriabin program. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 7 1915 (Julian calendar)
Rachmaninoff's role: Chamber Musician and Solo Pianist
Notes: Satina indicates that this was a chamber music concert, however she does not offer information on which chamber works by Rachmaninoff were played. However, Apetian recorded the works that are indicated, though also noting that it was not clear which of the Etudes-Tableaux were played. Keldysh (p. 403) notes that the violinist and cellist were local musicians. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 9 1915 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina indicates that this was an all-Scriabin recital program. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 13 1915 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that this was an all-Rachmaninoff recital program. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 16 1915 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina indicates that the complete program for this concert is unknown, but in later notes has indicated that included were the Prelude in G flat major, op. 23, no. 10, the Prelude in G major, op. 32, no. 5, and the Etudes-Tableaux in F minor and G minor from op. 33. Encores included the Barcarolle, op. 10, no. 3, the Polichinelle, op. 3, no. 4, and the transcription of ‘Lilacs’, op. 21, no. 5. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 18 1915 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: A review in Utro Russi on November 19 indicates that Rachmaninoff played Scriabin's Etude in D sharp minor, op. 8, no. 12, as an encore. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 24 1915 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: St Petersburg was known as Petrograd at this time. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 26 1915 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina believes that the program also included a Moment musical, op. 16, six Etudes-Tableau from op. 33, and six Preludes from op. 23 and op. 32. St Petersburg was known as Petrograd at this time. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 30 1915 (Julian calendar)
Rachmaninoff's role: Concerto Soloist and Solo Pianist
Notes: Satina noted that this was the 3rd Symphony Concert of the season. As encores, Rachmaninoff played his Prelude in G sharp minor, op. 32, no. 12, and Prelude in G minor, op. 23, no. 5, which is confirmed by a review in Russkiye Vedomosti on December 3. Satina also indicated that, due to the war, audience members were allowed to listen to the final rehearsal on the previous day, November 29, for a small fee, the money raised being donated to ‘wounded men’. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.