How Rachmaninoff's manuscript became a reason for cooperation between Russia and US

Russia Today

18-02-2025

Russian Music Publishing is preparing to release a unique scholarly edition: The autograph manuscript of the Second Symphony by the Russian composer Sergei Rachmaninoff. The digital copy of the manuscript, long considered lost, was entrusted to the publishing house by American art collector and philanthropist Robert Owen Lehman Jr. The return of this rare document to Russia took 20 years.
Experts believe that the Second Symphony occupies a central place in Rachmaninoff's oeuvre. It was composed in 1907-1908, when the composer lived with his family in Dresden after two successful seasons as conductor at the Moscow Bolshoi Theater. The premiere of the symphony took place in January 1908 at the Mariinsky Theater under Rachmaninoff's direction and was a tremendous success. The author held his work to exceptionally high standards. His First Symphony failed in 1897 and resulted in a serious moral trial for the composer. Rachmaninoff wrote: 'After this Symphony, I did not compose anything for about three years. I was like a man who had a stroke and whose head and arms were taken away for a long time... I will not show the Symphony, and I will impose a ban on its performance in my will.'
The autograph manuscript of the Second Symphony was considered lost for many decades until it unexpectedly resurfaced in 2004 at a Sotheby's auction. The appearance of the manuscript, which had been kept by an anonymous European collector, surprised not only music researchers but also the heir of the great composer – his grandson Alexandre Rachmaninoff, who lived in Switzerland. He intended to sue the owners in order to prove that they had no rights to possess the score. However, Rachmaninoff was stopped by Dmitry Dmitriev, the head of Russian Music Publishing.
At the time, work was in full swing at Russian Music Publishing on the 'Sergei Rachmaninoff. Critical Edition of the Complete Works (RCW)'.
'The value lies in the fact that the autograph manuscripts of Rachmaninoff conceal an unknown and unpublished Rachmaninoff, which the global music community has yet to hear. In other words, this is effectively a kind of rediscovery,' Dmitriev says. He explained the importance of the RCW to the grandson of the great Rachmaninoff, too.
Alexandre Rachmaninoff dedicated many years to promoting the works of his genius grandfather, organizing festivals and competitions in his name, and supporting young, talented musicians.
When he – an attorney by profession – learned that the original manuscript of one of Rachmaninoff's most famous works was being sold at auction for an exorbitant price, he found himself, to put it mildly, in a predicament. According to Dmitriev, it took considerable effort to dissuade the composer's descendant from withdrawing the lot from the auction and filing a lawsuit: the owners could simply have chosen to 'go underground' with the precious document.
Dmitriev describes the appearance of the autograph manuscript at the auction as a fantastic stroke of luck. 'It really took a lot of diplomatic effort for me to persuade Alexandre Rachmaninoff not to withdraw the autograph from the auction, so that this lot would remain. He called me and began to express his outrage very emotionally about how this could happen; he wanted to sue, get it back, immediately impose fines, and so on,' Dmitriev recounts. 'We quickly understood that such a mood could be fatal in terms of potentially losing this unique autograph for another 50 or even 80 years.'
The arguments of the head of Russian Music Publishing had an effect. Alexandre agreed to leave the lot at the auction with a number of legal stipulations and reached a settlement with its owners. Sotheby's reclassified the auction as closed, and the score was sold to the Tabor Foundation for £800,000, with the obligation to deposit it at the British Library in London and provide access to researchers.
It seemed that the autograph manuscript of the Second Symphony would finally see the light of day. No one could have predicted then that it would again remain hidden from scholars for many years.
According to the description from the Sotheby's website, the autograph manuscript of the Second Edition indeed represents a priceless find for scholars. The well-preserved 320-page document (only the first four pages and part of the last one are missing) provides a complete understanding of the original orchestration.
Dmitriev explains that the Tabor Foundation needed the document only as an investment asset, acquired for subsequent resale. The risk of potential digital copies being disseminated threatened to diminish the uniqueness of the manuscript – and consequently, its potential value at future auctions. Therefore, the score was displayed to the public during events and exhibitions at the British Library, while at other times it remained in its closed collections. All that researchers were able to study were a few pages of the autograph, digitized for the preparation of the lot's booklet at Sotheby's.
'Alexandre Rachmaninoff approached them with a request, and the British Library reached out to management – but to no avail. They exhibited the autograph manuscript at some showings, but there was absolutely no access for researchers,' Dmitriev explains. 'That was really very difficult, and in the end, we completely despaired.'
Original music works are very rarely put up for sale and cost a fortune. For example, in December 2024, Christie's presented a collection of musical manuscripts by Beethoven, Wagner, Stravinsky, Verdi, Puccini, Ravel, Strauss, Mendelssohn, and Debussy. Beethoven's autograph sketch leaf for the string quartet in C, op. 59 no. 3. was the most expensive lot: Its preliminary estimate ranged from £100,000 to £150,000. Ultimately, the document was sold for £113,000.
In 2016, an anonymous buyer acquired the original of Gustav Mahler's Symphony No. 2 at Sotheby's for £4.5 million. Guinness World Records featured this document as the most expensive musical manuscript sold at auction.
'The autograph manuscript is the most authentic source of the text closest to the author,' Dmitriev explains. 'It captures all the details of the author's intent.
When handwritten texts are converted into printed form, particularly in music, this leads to what is called 'a moment of interpretation'.
A lot of changes are made during the process of translating handwritten text into printed form. Many details of the original text are overlooked, and many nuances are standardized. Thus, two different texts emerge. For this reason, any autograph – regardless if it's Bach, Beethoven, Mozart, or Rachmaninoff – commands such high prices. Because it is essentially the only medium that preserves the original authorial text.'
It is not surprising that such auctions attract enormous attention – and sometimes even end in scandals. In 2016, Sotheby's failed to sell a Beethoven manuscript (with a pre-sale estimate of £200,000) after Professor Barry Cooper from the University of Manchester claimed that the document was penned not by the composer himself, but by a copyist.
Not until 2014 did the autograph manuscript of the Second Symphony reappear at auction. It happened after the death of Alexandre Rachmaninoff. The document was sold for £1.2 million to American collector Robert Owen Lehman Jr. The art collection assembled by the Lehman family is considered one of the finest private collections in the US. The autograph manuscript of the Second Symphony was placed on deposit at the Morgan Library & Museum in New York.
However, unlike previous owners, Lehman chose to share the precious document with the world. Despite the rising 'cancel culture' against Russian art over the Ukraine conflict, Lehman decided to provide Russian Music Publishing with a digital copy of the manuscript for study, transcription, and preparation of the first scholarly edition.
Dmitriev describes Lehman's action as a unique example of interstate cooperation. 'Such precedents show that in any country there are people – of any citizenship and nationality – who are able to communicate not in the language of ultimatums and who remain human.'
Lehman became interested in the project of 'Sergei Rachmaninoff. Critical Edition of the Complete Works'.
'We had already sent him three volumes, and he had the opportunity to get familiar with the project,' Dmitriev says. 'We should be grateful to our colleagues from the British Library, who accurately told him the whole story.'
The RCW has received broad recognition in the global music community as the first and only scholarly edition of the works of the great Russian composer. Its volumes are used in the study of music textual criticism at Cambridge University as a standard for preparing source-based editions for modern scholarly publications.
Rachmaninoff's sheet music archive is considered to be well-preserved – the majority of his works have survived to the present day in the form of clean autograph manuscripts and lifetime editions, with corrections made by the author himself. However, Rachmaninoff left Russia in 1917, so his documents ended up scattered across libraries, museums, archives, and private collections in Russia, the US, and Europe.
'He did not intend to emigrate; he planned to return. He left all of his autographs, entire works, in his Moscow apartment. He even left what he was currently working on,' Dmitriev says. 'For him, Russia remained his homeland. During the Great Patriotic War, he helped the Red Army more than anyone else in our émigré community. He did it with all his heart, and he was on our side; he was with the people.'
Scientific work is impossible without a deep investigation of the creative process, according to Dmitriev. 'Scholars attempt to reconstruct what was going through the composer's mind, how the composer wrote his works. There are different types of creative processes. For example, Bach and Beethoven followed the principle 'from simple to complex': a simpler version of the piece was written first, some sketches, and then it became more and more complex.'
Rachmaninoff, however, worked in a completely different way. Dmitriev says the composer deviated from general principles because his creative process was absolutely unique.
Rachmaninoff had a phenomenal creative memory. A large part of his creative work in composing music occurred in his creative memory. He would write it down on paper only when it was necessary to pass it to the publisher.
'The most interesting part began when Rachmaninoff started performing his own works at premieres: the pianist Rachmaninoff would come into play, starting to correct the composer Rachmaninoff – reducing, simplifying the texture, cutting out individual sections. We have very distinctive creativity here, where, unlike other composers for whom we must publish the final versions, we need to publish the initial ones.'
Russian Music Publishing received high-quality digital copies, allowing scholars to examine the Second Symphony autograph manuscript in great detail. Currently, the challenging effort is underway to transcribe it.
Dmitriev believes that the return of the document to Russia was made possible thanks to unique international cooperation, which is particularly important to maintain during times of political disagreements.
'For those working in the field of culture, collaboration is very important. Even when politicians cannot find common ground, such dialogue can still take place within cultural interactions, and this is very important,' he says.