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.
January 30 1937
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that this program opened with Mozart's Theme and Variations, however the attached reviews and press clipping indicate works by Haydn and Gluck-Sgambatti. Similarly, Liszt's Hungarian Rhapsody replaced the Polonaise no. 2. The Prelude in C sharp minor, op. 3, no. 2, a Chopin Waltz in A flat major, and the 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.
February 1 1937
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that Liszt's Valse oubliée no. 3 was played in this concert, however the attached review refers to the Valse impromptu. A Chopin waltz, Rachmaninoff's transcription of Rimsky-Korsakov's Bumble Bee and the Prelude in C sharp minor, op. 3, no. 2, are noted as encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 3 1937
Rachmaninoff's role: Solo Pianist
Notes: The attached review refers to Liszt's Valse impromptu, rather than the Valse oubliée which was played in other programs at the time. However, perhaps in error, the attached image of the program refers to the Valse impromptu. The Prelude in C sharp minor, op. 3, no. 2, is noted as among the encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 5 1937
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that the inclusion of the last item (Wagner-Brassin) was speculative, however its inclusion is confirmed in the second of the attached reviews. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 7 1937
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that the Scarlatti sonatas were not mentioned in the review of this concert, however the attached review refers to them. Liszt's transcription of Schubert's 'Wandern', a Chopin Waltz in A flat, and the Prelude in C sharp minor, op. 3, no. 2, are noted among the encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 10 1937
Rachmaninoff's role: Solo Pianist
Notes: Satina’s notes are not entirely clear for this concert. While the framework of the program is initially similar to concerts given in Pasadena and Claremont earlier in the month, the addition of works by Medtner, a Nocturne by Chopin and Prelude by Rachmaninoff, implies that they replaced other works. Satina notes that only the Hungarian Rhapsody by Liszt was mentioned in the review of the concert, but this does not necessarily mean that the Liebestraum and Valse oubliée were not played. A recently found review appears to confirm Satina's thoughts about the program, although not all works are mentioned. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 15 1937
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 18 1937
Rachmaninoff's role: Solo Pianist
Notes: Satina was unaware that a nocturne was also included in the Chopin group. The attached review appears to indicate that the Waltz was in A flat major, op. 42. According to the review, Liszt's transcription of Wagner's Spinning Song, and Rachmaninoff's transcription of Kreisler's Liebesleid were given as encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 21 1937
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that a waltz opened the Chopin group, however the attached review indicates that the Polonaise and Nocturne stood in its place. Liszt's transcription of Wagner's Spinning Song, Rachmaninoff's transcription of Kreisler's Liebesleid, 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 23 1937
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 26 1937
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 10 1937
Rachmaninoff's role: Solo Pianist
Notes: It is likely that the Chopin Mazurka in F minor is op. 7, no. 3, as it was played this season in other venues, and that the Etudes-Tableaux are a set from op. 33, including C sharp minor, G minor, E flat minor, and E flat major. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 11 1937
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that Beethoven's Sonata in D minor, op. 31, no. 2, was played in this recital, as with other concerts at the time, however both the attached review and advance press notice indicate that it was the Sonata in E major, op. 109. It is likely that the Chopin Mazurka in F minor is op. 7, no. 3, as it was played this season in other venues. Liszt's Liebestraum no. 3, Rachmaninoff's transcription of Rimsky-Korsakov's Bumble Bee, and the Prelude in C sharp minor, op. 3, no. 2, are noted as encores in the review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 13 1937
Rachmaninoff's role: Solo Pianist
Notes: It is likely that the Chopin Mazurka in F minor is op. 7, no. 3, as it was played this season in other venues. Threlfall and Norris indicate that Rachmaninoff’s transcription of Rimsky-Korsakov’s The Bumble Bee was played in this concert, presumably as an encore. Satina had believed that Beethoven's sonata op. 31, no. 2, had been played, however two attached reviews indicate that it was op. 109. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 14 1937
Rachmaninoff's role: Solo Pianist
Notes: It is likely that the Chopin Mazurka in F minor is op. 7, no. 3, as it was played this season in other venues, and that the Etudes-Tableaux are a set from op. 33, including C sharp minor, G minor, E flat minor, and E flat major. Satina believed that Liszt's Sonetto no. 123 was played, however the attached review indicates it was the Liebestraum (presumably no. 3). The Prelude in C sharp minor, op. 3, no. 2, is noted as one of three encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 16 1937
Rachmaninoff's role: Solo Pianist
Notes: It is likely that the Chopin Mazurka in F minor is op. 7, no. 3, as it was played this season in other venues, and that the Etudes-Tableaux are a set from op. 33, including C sharp minor, G minor, E flat minor, and E flat major. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 18 1937
Rachmaninoff's role: Solo Pianist
Notes: It is likely that the Chopin Mazurka in F minor is op. 7, no. 3, as it was played this season in other venues, and that the Etudes-Tableaux are a set from op. 33, including C sharp minor, G minor, E flat minor, and E flat major. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 20 1937
Rachmaninoff's role: Solo Pianist
Notes: It is likely that the Chopin Mazurka in F minor is op. 7, no. 3, as it was played this season in other venues, and that the Etudes-Tableaux are a set from op. 33, including C sharp minor, G minor, E flat minor, and E flat major. The attached review from the Edinburgh Evening News, March 22, p. 11, indicates the Liszt's Liebestraum no. 3, Rachmaninoff's transcription of Rimsky-Korsakov's Bumble Bee, and the Prelude in C sharp minor, op. 3, no. 2, were given as encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 23 1937
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
April 2 1937
Rachmaninoff's role: Solo Pianist
Notes: It is likely that the Chopin Mazurka in F minor is op. 7, no. 3, as it was played this season in other venues. Satina notes that ‘the programs for these [European] cities were copied from the letters written by Rachmaninoff’s secretary to the managers – Mr J Ysaye and Mr G Engels.’ LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
April 8 1937
Rachmaninoff's role: Solo Pianist
Notes: It is likely that the Chopin Mazurka in F minor is op. 7, no. 3, as it was played this season in other venues. Satina notes that ‘the programs for these cities were copied from the letters written by Rachmaninoff’s secretary to the managers – Mr J Ysaye and Mr G Engles.’ LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
April 12 1937
Rachmaninoff's role: Solo Pianist
Notes: A letter Satina received from Milan indicated that it was possible only the Rondo in the Chopin set was played at this concert, and that the program closed with Rachmaninoff's transcription of Kreisler's Liebesleid. Clarification of the program was initially confirmed by Francesco Izzo ('Rachmaninoff in Italy: Criticism - Influence - Performance', 1993), and more recently by the Società del Quartetto di Milano, the host of Rachmaninoff's visit, which also confirmed the location of the recital. It seems possible that the Kreisler transcription was played as an encore. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 18 1937
Rachmaninoff's role: Solo Pianist
Notes: The attached review raises questions about this recital. While perhaps not a particularly informed reviewer, in light of Rachmaninoff replacing the named 'Etude-Tableau in E flat minor' with the Prelude in G major, op. 32, no. 5, in similar later programs, the comment about 'sweeping the audience from its emotional feet' with the 'magnificent' etude would seem to suggest that op. 39, no. 5, was played. This would be at variance with Satina's belief that the Etude-Tableau in E flat minor, op. 33, was programmed (as a small selection from this set was played at later concerts), and her belief that the Prelude in G major was played here. Further, the Scherzo no. 3 in C sharp minor was typically played in concerts at this time. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 20 1937
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 24 1937
Rachmaninoff's role: Solo Pianist
Notes: The attached reviews create potential confusion around the works by Chopin: it would appear that the Nocturne in F major was played in place of the Impromptu in F sharp minor, while the reference to the Ballade in F major would seem to be erroneous. As with other concerts around this time, Rachmaninoff's Etude-Tableau in E flat minor (Satina believed it would have been op. 33 as a small set from this opus was played in later concerts) was replaced by the Prelude in G major, op. 32, no. 5. The Etude Capriccio in F minor by Dohnányi, and Rachmaninoff's transcriptions of Kreisler's Liebesleid and Rimsky-Korsakov's Bumble Bee are noted as encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 26 1937
Rachmaninoff's role: Solo Pianist
Notes: The Prelude in C sharp minor, op. 3, no. 2, Dohnányi's Etude Capriccio in F minor, and Rachmaninoff's transcription of Rimsky-Korsakov's Bumble Bee, are noted as encores in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 27 1937
Rachmaninoff's role: Solo Pianist
Notes: The review indicates that, atypically, Rachmaninoff played an encore at the conclusion of the first half of the recital, Chopin's Waltz in A flat (likely op. 42). The Prelude in C sharp minor, op. 3, no. 2, and Rachmaninoff's transcription of Rimsky-Korsakov's Bumble Bee, are noted as concluding encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 1 1937
Rachmaninoff's role: Solo Pianist
Notes: The Prelude in C sharp minor, op. 3, no. 2, and Chopin's Waltz in A flat, op. 42, are noted as encores in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 2 1937
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that the Etude-Tableau in E flat minor, op. 33, was played, according to the program, however two of the attached reviews indicate the Prelude in G major, op. 32, no. 5, was played in its place. The Prelude in C sharp minor, op. 3, no. 2, is noted as one of a number of encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 7 1937
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.