Diary entries
December 30 1924
Rachmaninoff's role: Gramophone Recording
Notes: Details of Rachmaninoff's recording sessions have been compiled from Barrie Martyn's book 'Rachmaninoff: Composer, Pianist, Conductor' (Scolar Press: London, 1990), pp. 453-497.
January 14 1925
Rachmaninoff's role: Solo Pianist
Notes: The attached reviews indicate that Rachmaninoff played the Gluck-Sgambatti Melodie as an encore after the Schumann Sonata, and Chopin's Waltz in C sharp minor, op. 64, no. 2, and the transcription of Mussorgsky's Hopak at the end of the recital. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 16 1925
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that this Friday concert was ‘by invitation’, and that she believed the Chopin Ballade was likely in A flat major, op. 47. The program had been sent to Satina by the Chief Usher of the White House, H. G. Grim, but is also confirmed in the first attached press clipping. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 17 1925
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 19 1925
Rachmaninoff's role: Solo Pianist
Notes: Encores are noted in the attached reviews both after the Schumann Sonata and at the end of the recital, however their details are not given. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 21 1925
Rachmaninoff's role: Solo Pianist
Notes: Two waltzes by Chopin are noted as the encores in the attached reviews. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 23 1925
Rachmaninoff's role: Solo Pianist
Notes: Rachmaninoff played the Gluck-Sgambatti Melodie as an encore after the Beethoven Sonata, as noted in the attached review, and a work by Chopin at the end. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 27 1925
Rachmaninoff's role: Solo Pianist
Notes: The first attached review notes an encore after the Schumann Sonata, the Gluck-Sgambatti Melodie. At the end of the recital, encores were a Chopin mazurka, Rachmaninoff's transcription of Mussorgsky's Hopak, Chopin's Waltz in C sharp minor, op. 64, no. 2, a Humoresque by Tchaikovsky, and Dohnányi's Etude. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 28 1925
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 30 1925
Rachmaninoff's role: Solo Pianist
Notes: A work by Chopin and Rachmaninoff's transcription of Mussorgsky's Hopak are noted among three encores in the attached review. In the attached press clipping, the piano used by Rachmaninoff to practise at his hotel is offered for sale. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 2 1925
Notes: Satina was unable to find details for this program, yet it can partially be reconstructed by two recently found reviews and a press clipping. The Chopin works were perhaps the same as played in other concerts at this time, such as in San Diego on February 9. Two waltzes by Chopin - C sharp minor and A flat major - are noted as encores.
February 3 1925
Notes: Satina was unable to find details for this program. The attached review mentions only the Prelude in C sharp minor, op. 3, no. 2, and unnamed works by Chopin. The attached press clipping a few days after the concert invites readers to inspect the piano used by Rachmaninoff to practise during his two days in Phoenix.
February 5 1925
Rachmaninoff's role: Solo Pianist
Notes: The first of the attached reviews notes Chopin's Waltzes in A flat major, op. 69, no. 1, and C sharp minor, op. 64, no. 2, Rachmaninoff's transcriptions of Mussorgsky's Hopak and Kreisler's Liebesleid, and the Prelude in C sharp minor, op. 3, no. 2, as the encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 6 1925
Rachmaninoff's role: Solo Pianist
Notes: According to the attached review, the order of Rachmaninoff's two compositions could have been reversed. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 9 1925
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 11 1925
Rachmaninoff's role: Solo Pianist
Notes: Satina believed only one work by Liszt was played, yet the attached brief review refers to two. Given its occurrence in similar programs, the Sonetto is also listed here. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 12 1925
Rachmaninoff's role: Solo Pianist
Notes: An unfortunate occurrence of billowing stage curtains is discussed in the second attached press clipping. In it, in response to being told that the small audience could not be moved closer to the stage, Rachmaninoff suggests inviting them to his hotel room. In the first attached press clipping, the Stockton Record makes an unfortunate typographical mistake in regard to the name of the location. The first attached review indicates that the Serenade was played in place of the advertised Etude-Tableau, and also notes encores, which might be determined as Liszt's transcription of Schubert's 'Das Wandern', a Chopin waltz, and Rachmaninoff's transcription of Mussorgsky's Hopak. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 13 1925
Rachmaninoff's role: Solo Pianist
Notes: Tchaikovsky's Troika and Rachmaninoff's transcription of a Kreisler piece (spelled 'Chrysler'), likely the Liebesleid, are noted as encores in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 14 1925
Rachmaninoff's role: Solo Pianist
Notes: Tchaikovsky's Troika is noted as an encore in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 15 1925
Rachmaninoff's role: Solo Pianist
Notes: The attached review from the San Francisco Examiner states that Rachmaninoff performed in the city in the previous season, however no sources record this event. The same review notes he played Chopin's Waltz in A flat major, op. 64, no. 3, as an encore after the Beethoven Sonata, but there is no mention of encores at the end of the recital. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 18 1925
Rachmaninoff's role: Solo Pianist
Notes: The second attached review indicates that Rachmaninoff played Tchaikovsky's Troika as an encore after the Schumann Sonata, and at the end of the recital played a Chopin waltz, his transcription of Kreisler's Liebesleid, his own transcription of Mussorgsky's Hopak, and Liszt's transcription of Schubert's 'Das Wandern'. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 19 1925
Rachmaninoff's role: Solo Pianist
Notes: Satina indicated the Chopin etude was possibly op. 25, no. 1. Tchaikovsky's Troika, a Chopin waltz, and Rachmaninoff's Prelude in C sharp minor, op. 3, no. 2, are noted as the encores in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 21 1925
Rachmaninoff's role: Solo Pianist
Notes: A note by Satina indicated that in regard to the Liszt Sonetto ‘B.V. thinks it was no. 104’, which accords with other programs at this time. Satina also noted that it was likely the Prelude was the one in C sharp minor, op. 3 no. 2. The details of the works by Chopin are based on what Rachmaninoff was playing in other cities, given that she likely had access to the same review that is attached, which provides details only for the first half of the recital. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 23 1925
Rachmaninoff's role: Solo Pianist
Notes: A note by Satina indicated that in regard to the Liszt Sonetto ‘B.V. thinks it was no. 104’, which accords with other programs at this time. The attached review notes the encores as being Liszt's transcription of Schubert's 'Das Wandern' after the Schumann Sonata, and Tchaikovsky's Troika and Rachmaninoff's transcription of Mussorgsky's Hopak at the end of the recital. The first attached press clipping is a long article about Rachmaninoff and the history of Russian music by Mrs. O. J. Cameron, which appears to be the paper that had been given to students at the Victoria Conservatory, noted in the second attached press clipping. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 25 1925
Rachmaninoff's role: Solo Pianist
Notes: A note by Satina indicated that in regard to the Liszt Sonetto ‘B.V. thinks it was no. 104’. Satina’s notes also stated in regard to the Chopin Ballade that ‘one source states F major’ – it’s not clear what source this might be, although it could be the third attached review which indicates similar. Given the first attached review notes the Ballade in A flat major, the other is likely mistaken. The attached reviews indicate Tchaikovsky's Troika and Rachmaninoff's transcription of Mussorgsky's Hopak as the encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 27 1925
Rachmaninoff's role: Solo Pianist
Notes: A note by Satina indicates that in regard to the Liszt Sonetto ‘B.V. thinks it was no. 104’, which accords with other programs at this time. The attached review notes Tchaikovsky's Troika among innumerable' encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 2 1925
Rachmaninoff's role: Solo Pianist
Notes: A note by Satina indicates that in regard to the Liszt Sonetto ‘B.V. thinks it was no. 104’, which accords with other programs at this time. Both of the attached reviews are extremely difficult to read, although the second appears to confirm the program Satina supplied. (An attempt at partial transcription follows on the second page of the first.) Chopin's Waltz in A flat major, op. 64, no. 3, is noted as one of two encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 4 1925
Rachmaninoff's role: Solo Pianist
Notes: A note by Satina indicates that in regard to the Liszt Sonetto ‘B.V. thinks it was no. 104’, which would accord with other programs at this time. The second attached review notes a Chopin waltz among the encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.