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 3 1921
Rachmaninoff's role: Solo Pianist
Notes: The attached review indicates that a further Chopin waltz was played as an encore after the Chopin group, while the Prelude in C sharp minor, op. 3, no. 2, was given later in the concert. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 6 1921
Rachmaninoff's role: Solo Pianist
Notes: The Prelude in C sharp minor, op. 3, no. 2, is noted as an encore in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 7 1921
Rachmaninoff's role: Solo Pianist
Notes: Satina indicated that four pieces by Rachmaninoff were played at this concert, presumably according to a review she had been sent, but she doesn’t provide further details. It seems possible that two were played as encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 14 1921
Rachmaninoff's role: Solo Pianist
Notes: The attached press clipping indicates the Mozart and Chopin group were a change from the advertised Chopin Sonata in B minor. The waltz could have been that in G flat major, op. 70, no. 1, misnamed as G major in the first attached review. 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. Review: Philadelphia Inquirer 1921.02.15 p. 3.
February 15 1921
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 17 1921
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 26 1921
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that the two Etudes-Tableaux included no. 3 in F sharp minor, and one ‘in modo Antico’ (likely B minor), which would appear to align with the program given in Boston on March 6. The attendance of Paderewski at the concert is noted in two of the attached reviews. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 28 1921
Rachmaninoff's role: Solo Pianist
Notes: While the attached review is too depleted to be deciphered, the edited photo of it, which is included, at least appears to match the names of the composers with the works that were played. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 6 1921
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that the two Etudes-Tableaux included no. 3 in F sharp minor, and one ‘in modo Antico’ (B minor), which the attached press clipping appears to confirm. The reviews indicate that Mussorgsky's Hopak was repeated, while Olin Downes in the Boston Post refers to a 'half hour' of encores at the end. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 8 1921
Rachmaninoff's role: Solo Pianist
Notes: The attached review indicates that Mendelssohn's Spinning Song, the same composer's Song Without Words no. 47, 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 10 1921
Rachmaninoff's role: Solo Pianist
Notes: The attached review indicates that the Prelude in C sharp minor, op. 3, no. 2, was given as an encore after the Chopin group, and that further encores were given at the end. It is not entirely clear if the reference to the Prelude in G major, op. 32, no. 5, was among these, or if it was a typographical error when referring to the more famous one. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 19 1921
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that the first Waltz by Chopin was in E flat major, op. 18. The review mentions a 'Novelle' by Medtner and the transcription of Mussorgsky's Hopak, yet it is not entirely clear if they were played as encores. The attached press clipping does not include all works on the program. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89. Review: 1921.03.20 p. 14.
March 31 1921
Rachmaninoff's role: Solo Pianist
Notes: The attached reviews indicate that Chopin's Waltz in E flat major, op. 18, was played as an encore after the Schumann Papillons, while the Polka de W.R. and a Song Without Words by Mendelssohn were given at the end of the recital. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 10 1921
Rachmaninoff's role: Solo Pianist
Notes: Satina indicated that the Chopin Waltz could be either op. 70, no. 3 or op. 64, no. 1, although the latter was more frequently played at this time, and that this was the first concert in which Rachmaninoff included his transcription of Kreisler's Liebesleid. Satina also referred to a review she had been sent to indicate that Rachmaninoff played his Prelude in C sharp minor, which judging from the attached press clipping may not have been as an encore. The review Satina refers to has not been located. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 11 1921
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 13 1921
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 14 1921
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 16 1921
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 17 1921
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 20 1921
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that the Chopin Waltz could be either op. 70, no. 3 or op. 64, no. 1, although the latter was more widely played at the time, and that the two Rachmaninoff etudes could be nos. 1 or 7, or nos. 2 or 6. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 22 1921
Rachmaninoff's role: Solo Pianist
Notes: The attached reviews indicate that Mozart's Turkish Rondo was given as an encore after the Grieg Ballade, that Chopin's Minute Waltz was repeated, and the Waltz in G flat major, op. 70, no. 1, was played after the Scherzo, and that the Prelude in C sharp minor, op. 3, no. 2, was given at the end. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 24 1921
Rachmaninoff's role: Solo Pianist
Notes: Mozart's Turkish Rondo is noted as an encore after the Grieg Ballade in the first attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 27 1921
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that the Chopin Waltz could be either op. 70, no. 3 or op. 64, although the latter was more frequently played at this time, no. 1, and that the two Rachmaninoff etudes could be nos. 1 or 7, and nos. 2 or 6. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 29 1921
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 30 1921
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 1 1921
Rachmaninoff's role: Solo Pianist
Notes: The Prelude in C sharp minor, op. 3, no. 1, is noted among the encores at the end of the recital. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 4 1921
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that the Chopin Waltz could be either op. 70, no. 3 or op. 64, no. 1, although the latter was more widely played at the time, and that the two Rachmaninoff etudes could be nos. 1 or 7, and nos. 2 or 6. The second attached review notes an encore after the Grieg Ballade, and two Chopin waltzes added after the Chopin group. At the end of the concert, Tchaikovsky's Troika, the Elegy, op. 3, no. 1, the Prelude in C sharp minor, op. 3, no. 2, and Debussy's Cakewalk were added. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 5 1921
Rachmaninoff's role: Solo Pianist
Notes: The attached review indicates that the inclusion of Rachmaninoff's Prelude was a change from the advertised Elegy, op. 3, no. 1, which is confirmed by the attached press clipping. The review notes that Mozart's Turkish Rondo was given as an encore after the Grieg Ballade, while Chopin's Waltz in G flat major, op. 70, no. 1, was played after the Chopin group. Tchaikovsky's Troika was given as an encore at the end. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 6 1921
Rachmaninoff's role: Solo Pianist
Notes: Satina indicates that the Chopin Waltz could be either op. 70, no. 3 or op. 64, no. 1, and that the Polka was not mentioned in a review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 7 1921
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that the Chopin Waltz could be either op. 70, no. 3 or op. 64, no. 1, although the latter was more frequently played at this time, and that the two Rachmaninoff etudes could be nos. 1 or 7, and nos. 2 or 6. The attached review notes Chopin's Waltz in C sharp minor, op. 64, no. 2, as an encore after the Chopin group, while the D flat major waltz within the program was repeated. The Prelude in C sharp minor, op. 3, no. 2, was given as an encore at the end. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.