Diary entries
January 9 1917 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina's reference to ‘Fifteen Etudes-Tableaux’ is of interest. While the manuscript dates of two Etudes-Tableaux from op. 39 are problematic, Keldysh identified that no. 8 in D minor was the last to be written (p. 407). Previous performances included only eight from the op. 39 set, however a performance of the complete nine from this set, plus the published six from the op. 33 set, could account for the total number of Etudes-Tableaux. Apetian also noted the same number of Etudes-Tableaux in this concert. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 13 1917 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina noted an all-Rachmaninoff program at this concert. This is confirmed by the History of Russian Music (vol. 10V, book 2, p. 527) which, citing Naumov, provides the program identified here. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 19 1917 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina noted an all-Rachmaninoff program at this concert, however the History of Russian Music (vol. 10V, book 2, p. 527), citing Naumov, indicates that Rachmaninoff's Second Piano Concerto, op. 18, was performed. No details of the orchestra or conductor are given, nor other works on the program. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
20 January 1917 (Julian calendar)
Rachmaninoff's role: Chamber Musician
Notes: Satina included a photocopy of the program among her notes. The concert, which commenced at 8.30pm, was in the 'Зал купеческого собрания' (Merchants' Assembly Hall). LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 23 1917 (Julian calendar)
Rachmaninoff's role: Concerto Soloist
Notes: Satina indicated that an audience was permitted to attend the dress rehearsal for this concert the previous day, January 22, for a small fee. This was the 6th Symphony Concert in Koussevitzky’s season. Satina did not known what was played in the second half of the concert, however a review in Russkiye Vedomosti on January 25 indicates the Second Symphony in this all-Rachmaninoff program. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 26 1917 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that this was the 6th Concert of the season of the Rostov Branch of Russian Music Society, also indicating that the program included some earlier compositions, including the Polichinelle, op, 3, no. 4. A review in Priazovskiy Krai on January 28 noted that a series of popular pieces were played as encores, including the Polichinelle and the Polka de W.R. The History of Russian Music (vol. 10V, book 2, p. 528), citing Naumov, confirms the main works on the program, however it gives the venue name as 'Music School'. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 27 1917 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina indicated that this was an all-Rachmaninoff program. The information regarding the name of the concert hall is taken from the Taganrog Bulletin of January 27, which is quoted in Val'kova (vol. 2, p. 501). The History of Russian Music (vol. 10V, book 2, p. 528), however, refers to the venue as the former Youth Theatre in the park. Citing Naumov, the program details listed are given here, however it would seem to represent only a partial program. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 28 1917 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina indicated that this was an all-Rachmaninoff program. The name of the venue is according to the History of Russian Music (vol. 10V, book 2, p. 528). LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 29 1917 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina indicated that this was an all-Rachmaninoff program, also that it was an afternoon concert. A review published in Yuzhniy Krai on January 31 writes of the program of the 'final concert' (presumably this concert, not the day before), therefore likely indicating that different programs were given over the two days. Further details about keys (or opus numbers) of the Preludes and Etudes-Tableaux are not given in the review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 31 1917 (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. 528), citing Naumov, provides the program details as listed here. While Rachmaninoff's usual habit was to begin programs with the largest work, note the program order in St Petersburg on February 21 and a very similar program in Moscow on February 26. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 6 1917 (Julian calendar)
Rachmaninoff's role: Concerto Soloist
Notes: Satina noted that this was the 8th and last Symphony Concert in Koussevitzky’s season. The Zon Theatre stood where the Tchaikovsky Concert Hall is now situated. Satina indicated that an audience was allowed to attend the dress rehearsal the previous day, February 5, for a small fee, as was also noted by Apetian. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 21 1917 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina noted Apetian’s claim that Rachmaninoff added one more Etude-Tableau, op. 33, to the program, and that only 4 Preludes were played, citing p. 472-473. While this is the first explicit programmatic reference to the complete set of 'nine' Etudes-Tableaux, op. 39, with some programs over the previous month unknown it cannot be ascertained when the complete set was first performed, although refer also to the earlier concert in Moscow on January 9. Satina indicated that 50% of the proceeds from the concert were given ‘to the Russian Musician Fund to help the needy Composers and their families’. St Petersburg was known as Petrograd at this time. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 25 1917 (Julian calendar)
Rachmaninoff's role: Concerto Soloist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 26 1917 (Julian calendar)
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that ‘50% of the money received will be given to the All-Russia Union of Cities, to help the sick and wounded soldiers’. She also indicated that the performance took place in the ‘Zimin Opera House’, which might be a reference to the Nikitsky Theatre. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 13 1917 (Julian calendar)
Rachmaninoff's role: Concerto Soloist
Notes: Satina indicated that this was the First Extra Symphony Concert in the season of Sergei Koussevitzky. An audience was permitted to attend the dress rehearsal before the concerto, on March 12, for a small fee, as Apetian also noted. The Zon Theatre stood where the Tchaikovsky Concert Hall now stands. The ‘February’ Revolution was underway at the time of this concert. Keldysh (p. 409) noted that Rachmaninoff donated his fee from this concert to 'the Union of Artist-Warriors for gifts to the army', citing a letter from Rachmaninoff which appeared in Russkiye Vedomosti on March 15: "Свой гонорар от первого выступления в стране, отныне свободной, на нужды армии свободной при сем прилагает свободный художник С. Рахманинов" [The free artist S. Rachmaninoff hereby donates his fee from his first performance in the country, now free, to the needs of the free army]. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 20 1917 (Julian calendar)
Rachmaninoff's role: Concerto Soloist
Notes: Satina indicated that this was the Second Extra Symphony Concert in the season of Sergei Koussevitzky. An audience was permitted to attend the dress rehearsal before the concerto, on March 19, for a small fee, as Apetian also noted. Keldysh (p. 409) quoted a review of the concert, which indicates that Liszt's Hungarian Rhapsody no. 12 was played as an encore (although the review in Muzikalny Sovremennik, 1917, no. 19, p. 12, mistakenly refers to the date of this concert as March 25, a point clarified by Keldysh). The Zon Theatre stood where the Tchaikovsky Concert Hall now stands. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 25 1917 (Julian calendar)
Rachmaninoff's role: Concerto Soloist
Notes: Satina indicated that this was the last appearance of Rachmaninoff in Moscow. She also noted that ‘all the proceeds will be given to the needs of the army. Orchestra seats at 4-12 roubles, boxes from 20-64 roubles. Balcony at 1.50’. Images of the program of this concert are included in Keldysh's Rachmaninoff and His Time, indicating that there were 15 minute intervals between the works. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
July 28 1917 (Julian calendar)
Rachmaninoff's role: Chamber Musician and Conductor
Notes: Marietta Shaginian recorded details of this concert in her recollection of Rachmaninoff (Vospominania, vol. 2, p. 171). She noted that Rachmaninoff was not listed on posters for the concert, which occurred on the day of the 'Freedom Loan'. Koshetz at first sang with a different pianist, before Rachmaninoff appeared with her. It might be presumed that one or more songs from op. 38 were performed, given their concerts together the previous year. Shaginian further noted that Rachmaninoff conducted the Marseillaise in the second half of the concert. Boris Nikitin, in 'Two Lives' (p. 94), confirms these details, also noting that Rachmaninoff did not want to perform at the concert.
September 5 1917 (Julian calendar)
Rachmaninoff's role: Concerto Soloist
Notes: Satina notes that this was the last appearance of Rachmaninoff in Russia. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 15 1918
Rachmaninoff's role: Concerto Soloist
Notes: A review in the Nationaltidende on February 16 notes that Rachmaninoff played two of his own compositions as encores. The attached press clipping provides the name of the venue: Den Store Palæsal [Great Palace Hall]. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 22 1918
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that this was an all-Rachmaninoff program. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 12 1918
Rachmaninoff's role: Concerto Soloist
Notes: The second attached press clipping indicates the orchestral works on the program and their order, while the attached review notes that the Prelude in C sharp minor, op. 3, no. 2, and the Polka de W.R. were among encores given at the end of the concert. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 14 1918
Rachmaninoff's role: Concerto Soloist
Notes: Satina was unaware of the orchestral work on the program, which is noted in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 18 1918
Rachmaninoff's role: Solo Pianist
Notes: Satina appears to have had incomplete details for the concert, as the attached review indicates that four Preludes were also performed. The Etude-Tableau in G minor, op. 33, appears to have been one of those indicated by Satina. The exact order of the program is at present unknown. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 22 1918
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
April 16 1918
Rachmaninoff's role: Concerto Soloist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
April 20 1918
Rachmaninoff's role: Concerto Soloist
Notes: The details of the orchestral works on the program were unknown to Satina. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
April 24 1918
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
April 26 1918
Rachmaninoff's role: Solo Pianist
Notes: The ordering of the two Etudes-Tableaux in E flat minor, and in C minor, could be different, although Rachmaninoff frequently played the E flat minor op. 33 work before the E flat major op. 33 work, both prior to this concert and later. In hand-written notes, Satina appears unsure whether one or two Moments musicaux were played. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
May 2 1918
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that beyond the inclusion of Rachmaninoff's two preludes, the Barcarolle and the Polka, the rest of the program was unknown to her, but also that it included ‘songs’ sung by ‘Madame Skalontz’. Bertensson and Leyda confirmed this concert, also noting that Skilondz sang songs by Rachmaninoff. While publicity and reviews of Rachmaninoff at this time in Sweden used his preferred orthography, in this instance his name was spelled 'Rachmaninow' and 'Rachmaninov'. The attached press clipping and review supply the further information about the concert. The exact order of the program, which the review notes included 'Russian arias and romances', is unknown. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.