Diary entries
February 5 1919
Rachmaninoff's role: Concerto Soloist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89. Review 2: Philadelphia Inquirer 1919.02.06 p. 10.
February 7 1919
Rachmaninoff's role: Concerto Soloist
Notes: The concert began at 8.15pm. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 9 1919
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 19 1919
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 22 1919
Rachmaninoff's role: Solo Pianist
Notes: The concert commenced at 2.30pm. It is not indicated whether the 2nd, 3rd, or both from Medtner's op. 7 were performed. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89. Review: Boston Herald 1919.02.23 p. 11.
February 23 1919
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that this was the first time Rachmaninoff played an all Russian recital program in New York. It is not indicated whether the 2nd, 3rd or both of Medtner's op. 7 were performed. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 27 1919
Rachmaninoff's role: Solo Pianist
Notes: The concert commenced at 8.15pm. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 1 1919
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 4 1919
Rachmaninoff's role: Solo Pianist
Notes: The concert commenced at 8.15pm. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 7 1919
Rachmaninoff's role: Solo Pianist
Notes: The concert commenced at 8.15pm. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 9 1919
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 13 1919
Rachmaninoff's role: Solo Pianist
Notes: The concert commenced at 4.30pm. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 23 1919
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 28 1919
Rachmaninoff's role: Concerto Soloist
Notes: The Symphony no. 2 in E minor was presumed by Satina to be Rachmaninoff's but appears in fact to have been by Rabaud. According to the reviews, the symphony was conducted by the concertmaster, Thaddeus Rich, as Stokowski became indisposed. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89. Review 2: Philadelphia Inquirer 1919.03.29 p. 10.
March 29 1919
Rachmaninoff's role: Concerto Soloist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
April 7 1919
Rachmaninoff's role: Piano Roll Recording
Notes: From the attached copy of a page from Ampico's ledger of recordings by individual artists, it is clear that Rachmaninoff recorded reproducing piano rolls of his Second Concerto (the complete ledger is viewable at the online Digital Repository of Stanford University Library). His recording of the orchestral reduction ('2nd piano') of the slow movement was, apparently, not unusual: as with Hofmann's recording of Chopin's E minor concerto, the accompaniment would have been recorded during playback of the solo part, with the intention that the two rolls would be amalgamated in production. There are references to the solo roll of the second movement being played in public, such as in Chicago in 1983, as Barrie Martyn notes in his book (p. 499). The attached article from the Chicago Tribune muddies the water through its reference to the 'first movement', however all other sources indicate that the roll of the second movement was in fact played. The unpublished rolls for reproducing piano should not be confused with the existence of player piano rolls of the same concerto, one of which is believed to have been created in Dresden in 1908 and published by Aeolian in 1910. It seems doubtful that this roll was 'hand played', yet it has been suggested that Rachmaninoff was involved (see, for example, the article by Rex Lawson on pianola.org). Gregor Benko, in liner notes to the 1973 Complete Rachmaninoff recordings release, writes about Satina recalling Rachmaninoff 'gleefully' pedalling through these player piano rolls at Ivanovka in the years before emigrating to the West (i.e., prior to 1917).
April 8 1919
Rachmaninoff's role: Concerto Soloist
Notes: Satina notes that this was a Gala Concert of the Vacation Association Inc., and that 'maestro Bambuschek' accompanied Geraldine Farr. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
April 14 1919
Rachmaninoff's role: Chamber Musician
Notes: Satina indicates that this was a benefit concert, but she could find no further details. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
April 27 1919
Rachmaninoff's role: Solo Pianist
Notes: Satina writes that as an encore Rachmaninoff played the Prelude in C sharp minor, op. 3 no. 2, and that his performance was an ‘auction’ for one million dollars (or more). In his book, Martyn claims that the ‘purchaser’ was Ampico, ‘who achieved enormous publicity, and business, from this stratagem for promoting one of their artists’ (p. 499). It is not indicated which of Liszt's Hungarian Rhapsodies was played - both nos. 2 and 12 were frequent inclusions in his repertoire at the time. Satina lists the following personnel for this Victory Liberty Loan Concert:
Victory Liberty Loan Committee (C Conway, Chairman)
Concert Committee (E Irion, Chairman)
Liberty Loan Representatives
Trade and Professional Committee
Advisory Committee
Executive Committee
Piano Committee
Talking Machine Committee
Piano and Organ Supply Committee
Musician Committee
Music Publishers and Music Roll Committee
Music Teachers Committee
Music and Merchandise Committee
Publicity
LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 12 1919
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that the key of the Chopin Waltz was not given in the review, and that Rachmaninoff played his Prelude in C sharp minor, op. 3, no. 2. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 15 1919
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that the key of the Chopin Waltz was not given in the review (although it would have been either op. 64, no. 1, or op. 70, no. 3), and that Rachmaninoff played his Prelude in C sharp minor, op. 3, no. 2. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 17 1919
Rachmaninoff's role: Solo Pianist
Notes: Satina lists this date in her summary of the season but appears to have missed identifying a program. Given the recitals in venues on either side, the program can perhaps be presumed as the same or at least similar. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 19 1919
Rachmaninoff's role: Solo Pianist
Notes: The review appears to indicate that Mendelssohn's Rondo Capriccioso was added to the program. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 25 1919
Rachmaninoff's role: Solo Pianist
Notes: No details were identified by Satina, although Apetian notes that this was a ‘mixed concert’ at which 5 unidentified pieces were performed, presumed to be solos. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 26 1919
Rachmaninoff's role: Solo Pianist
Notes: Satina writes that ‘if the review was correct’ the Marche by Alkan might not have been on the program. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89. Review: Boston Herald 1919.10.27 p. 13.