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.
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. The city was known as Tiflis at the time of this concert. 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. The city was known as Tiflis at the time of this concert. 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 indicated 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 indicated that this was a chamber music concert, however she did not offer information on which chamber works by Rachmaninoff were played. However, Apetian recorded the works that are indicated here, though also noting that it was not clear which of the Etudes-Tableaux were played. Keldysh (p. 403) noted that the violinist and cellist were local musicians. The History of Russian Music (vol. 10V, book 2, p. 495) names the venue and the chamber works, but confusingly writes 'no. 6, op. 33' for the Etudes-Tabelaux. 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 indicated that this was an all-Scriabin recital program. The name of the venue is according to the History of Russian Music (vol. 10V, book 2, p. 495). 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 noted only that this was an all-Rachmaninoff recital program. The specific program details listed here are according to the History of Russian Music (vol. 10V, book 2, p. 495), which cites Naumov as the source, although the reference to 'op. 39' for the etudes-tableaux would seem to be incorrect. The concert was the '4th Musical Gathering' of the season. 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.
December 3 1915 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina indicated that this was an all-Scriabin recital program. The specific program details are according to the History of Russian Music (vol. 10V, book 2, p. 496), which also supplies the venue name. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 5 1915 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina wrote: ‘A printed program of this concert has been given to Rachmaninoff by a Russian refugee in Europe. This rare copy is added at present to section 5 of the Rachmaninoff Archive’. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 9 1915 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina indicated that this was an all-Scriabin recital program. The History of Russian Music (vol. 10V, book 2, p. 497) indicates that the concert was the 4th Musical Meeting of the Imperial Russian Music Society. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 10 1915 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina wrote that this recital was given to students of the Conservatory in the morning. She indicated that only Rachmaninoff and Scriabin works were on the program, which itself is of interest, as up to this point in his current tours Rachmaninoff was either exclusively playing his own works, or those of Scriabin, in recitals. The venue was likely the Conservatory, however this has not been confirmed. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 13 1915 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 14 1915 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina indicated that the complete program for this concert is unknown, but in later notes wrote that 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, were included. 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.
December 16 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.
December 18 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.
December 21 1915 (Julian calendar)
Rachmaninoff's role: Chamber Musician and Solo Pianist
Notes: Satina indicated that this was a concert arranged by Rachmaninoff, with Anatoly Brandukov assisting, in the ‘Hall of the Nobility Girl Institution’. Further, that it was for ‘the benefit of the All Russian Nobility Union’, with the money being sent to ‘the Division on the front’. Keldysh (p. 404) indicates that the concert took place at the Noble Women's Institute. While Satina indicated only that it was an all-Rachmaninoff program, Apetian notes the pieces indicated here. The name of the violinist is not known. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 10 1916 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina indicated that this was an all-Rachmaninoff recital program. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 28 1916 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina indicates that this was a concert for the benefit of the All-Russian Cities Union, and included Scriabin’s Piano Sonata no. 5, op. 53, and ‘Ten Preludes’, along with unknown works by Rachmaninoff. Keldysh (p. 401) believes that the Scriabin program performed on November 24 and December 16 at the end of the previous year was given again here, which would appear to exclude works by Rachmaninoff. St Petersburg was known as Petrograd at this time. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 3 1916 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina indicates that this concert was for the benefit of the All-Russian Cities Union, and that it comprised an all-Rachmaninoff program. St Petersburg was known as Petrograd at this time. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 15 1916 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that this was an all-Rachmaninoff recital program. The History of Russian Music (vol. 10V, book 2, p. 499), citing Naumov, provides the program details listed here. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 29 1916 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that this was the first performance of the Etudes-Tableaux, op. 39, although only 8 were included in the set. While the manuscripts for nos. 5 and 9 bear the date 1917, Threlfall and Norris claimed that no. 5 was performed. Keldysh (p. 407) indicated that both nos. 5 and 9 were performed, explaining their manuscript dates as due to later polishing, and stated that no. 8 (D minor) was written only in early 1917. Keldysh cited reviews that mention specifically Etude-tableau no. 5. Satina indicated that she constructed the program from a review of both this concert and one on December 1, and that it was not possible to ascertain if Rachmaninoff played 6 Preludes from op. 23 and 6 Preludes from op. 32, or only 6 in total - based on programs in other cities, it is more likely the latter. She also indicated that the Variations on a Theme of Chopin, op. 22, might have been performed at this concert. Keldysh indicated that the program was repeated in St Petersburg on December 1, 8, and 10, although Satina had no record of the last of these dates. St Petersburg was known as Petrograd at this time. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 1 1916 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that this was the second performance of the Etudes-Tableaux, op. 39, although only 8 were included in the set. While the manuscripts for nos. 5 and 9 bear the date 1917, Threlfall and Norris claimed that no. 5 was performed. Keldysh (p. 407) indicated that both nos. 5 and 9 were performed, explaining their manuscript dates as due to later polishing, and stated that no. 8 (D minor) was written only in early 1917. He cited reviews that mention specifically Etude-tableau no. 5. Satina indicated that she constructed the program from a review of both this concert and one on November 29, and that it’s not possible to ascertain if Rachmaninoff played 6 Preludes from op. 23 and 6 Preludes from op. 32, or only 6 in total - although, based on programs in other concerts the latter seems more likely. Keldysh indicated that the program was repeated in St Petersburg on December 8 and 10, although Satina had no record of the last of these dates. St Petersburg was known as Petrograd at this time. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 5 1916 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that this was the first performance of the still-incomplete set of Etudes-Tableaux, op. 39, in Moscow. She placed a question mark next to the venue, presumably indicating that the precise location was uncertain. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 6 1916 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina indicated that the program was the same as given in the concert on December 5 1916, also noting that ‘25% of the proceeds were given to the needy Students of the College’. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 8 1916 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina was unable to find details of this program, however Keldysh (p. 407) indicated that it was the same as was performed on November 29 and December 1. However, as Satina indicated a different work beginning each of those concerts, it is not possible ascertain the complete program on this date. Keldysh also believed this program was repeated yet again in St Petersburg on December 10, however Satina did not record a concert on this date. St Petersburg was known as Petrograd at this time. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 11 1916 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that this was an all-Rachmaninoff program. A letter from V.R. Wilshaw quoted in Literaturnoye nasledie (note to letter 984, vol. 3, p. 247), written in 1934, refers to a concert at the Polytechnical Museum at this time in which Rachmaninoff played from his Etudes-Tableaux, op. 39, the author also remembering that at the concert a string on the piano was broken. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 16 1916 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina indicated that this was an all-Rachmaninoff program. The History of Russian Music (vol. 10V, book 2, p. 526), citing Naumov, has a dual listing of 'two concerts' in Kharkiv on December 16 and 17, providing a program only for the first which includes both Rachmaninoff's solo works listed here and three songs sung by Koshets. It may be possible that 'Muse', op. 34, no. 1, 'He took all from me', op. 26, no. 2, and 'I remember this day', op. 34, no. 10, were performed separately at this concert, and that the complete program of songs was performed on December 17, as currently noted. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.