New York: izdaniye S.A. Satinoy, 1946. Item #1333
XXI, , 184 pp., 5 photos 22,7x15,5 cm. Original illustrated wrappers. Trace of the label on the front cover. Marginal soiling of the covers, otherwise very good.
Scarce. First edition. Edited and designed by Mstislav Dobuzhinsky (1875-1957), a noted Russian and Lithuanian artist famous for his cityscapes conveying the explosive growth and decay of the early twentieth-century city. A member of Mir Iskusstva, [i.e. The World of Art] Dobuzhinsky attended the Drawing School of the Society for the Promotion of the Artists from 1885 to 1887. Between 1895 and 1899, he read Law at the University of St. Petersburg, simultaneously studying in private studios. After graduating from the University, Mstsislav was trained from 189 to 1901 by Anton Ažbe in Munich and Simon Hollósy in Nagybánya (Austria-Hungary). During the First World War, Dobuzhinsky went to the front lines to sketch. In 1939, Mstislav moved to the United States where he stayed for the duration of the war. Dobuzhinsky spent the last ten years of his life in Europe, occasionally returning to New York for theatrical work.
A collection of memoirs and articles about Sergey Rachmaninoff written by the close circle of the composer.
The edition was published by Sofia Satina (1879-1975), a sister of Sergey Rachmaninoff’s wife, in New York three years after the composer’s death. The book consists of three sections and houses 32 texts all written by Rachmaninoff’s friends and colleagues, including Evgeny Somov (1881-1962; Rachmaninoff’s secretary), Mark Aldanov (1886-1957; a friend), Dagmar Barclay (Rachmaninoff’s American secretary), Sergey Bertenson (a friend), Mikhail Bukinik (a friend), Charles Spalding (Rachmaninoff’s manager), etc. The edition opens with the composer’s biography and continues with memoirs and articles narrating unknown details from Rachmaninoff’s career and personal life. The texts unfold hidden sides of Sergey’s character and offer a vivid insight into composer’s victories, losses, sorrows, and inner emotions. The book closes with an excerpt from Rachmaninoff’s letter to the groundbreaking Imperial Russian choreographer Michel Fokine (1800-1942). The two collaborated on the ballet Paganini (1939) based on Rachmaninoff’s Theme of Paganini (1934). In the letter, the composer shares his views on the future production of the piece. The edition also includes 5 black and white photographs showing Rachmaninoff and his hands.