Diary entries
December 7 1930
Rachmaninoff's role: Concerto Soloist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 8 1930
Rachmaninoff's role: Concerto Soloist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 10 1930
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 23 1931
Rachmaninoff's role: Solo Pianist
Notes: It is not known which of the two C minor op. 39 etudes-tableaux was played. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 25 1931
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 26 1931
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that the key of Rachmaninoff’s Etude-Tableau was not given in the review she had received, although one of the two in C minor was played in other programs at this time (often, it appears, op. 39, no. 1). Sgambatti's transcription of Gluck's 'Melodie' is noted as one of two encores in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 28 1931
Rachmaninoff's role: Solo Pianist
Notes: While Satina was unable to find details for this concert, the program can be reconstructed from the attached review. Rachmaninoff substituted his Prelude in C sharp minor, op. 3, no. 2, for the C minor Etude-Tableau printed in the program, which he appears also to have done at the concert in Kalamazoo two days later. While the review refers to Rachmaninoff's Prelude in 'G minor', it could be in error as the Prelude in G major, op. 32, no. 5, was typically programmed during the season. The encores included Rubinstein's transcription of the Turkish March from Beethoven's Ruins of Athens, and Rachmaninoff's transcription of Mussorgsky's Hopak.
January 30 1931
Rachmaninoff's role: Solo Pianist
Notes: While the Prelude in G major, op. 32, no. 5, was announced in the press, the attached review indicates that the one in C sharp minor, op. 3, no. 2, was performed in its place. Satina noted that the Chopin Waltz was either op. 64, no. 3, op. 69, no. 2, or op. 42. Sgambatti's transcription of Gluck's 'Melodies', and Rubinstein's transcription of Beethoven's Turkish March are noted as the encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 1 1931
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 4 1931
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that the Chopin Waltz was either op. 64, no. 3, op. 69, no. 2, or op. 42. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 6 1931
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that the Chopin Waltz was either op. 64, no. 3, op. 69, no. 2, or op. 42. She was unsure whether Bach's Organ Chorale Prelude opened the concert, a matter which is confirmed in the attached review. Similarly, she wondered whether Chopin's Nocturne in C sharp minor, op. 27, no. 1, was on the program, however it appears it was not. Rubinstein's transcription of Beethoven's Turkish March is noted as the third and final encore. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 8 1931
Rachmaninoff's role: Solo Pianist
Notes: From the attached review, it appears that, atypically, an encore was played prior to interval. The reviewer notes that the Prelude in C sharp minor, op. 3, no. 2, was not played among encores at the end of the concert. From comments about Rachmaninoff's Etude-Tableau, it appears that op. 39, no. 1, was played. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 10 1931
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that the Chopin Waltz was either op. 64, no. 3, op. 69, no. 2, or op. 42. The Prelude in G sharp minor, op. 32, no. 12, Rachmaninoff's transcription of Mussorgsky's Hopak, and Rubinstein's transcription of Beethoven's Turkish March are noted as encores in the attached review. The comment regarding Rachmaninoff's Etude-Tableau likely indicate that op. 39, no. 1, was played. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 14 1931
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 24 1931
Rachmaninoff's role: Solo Pianist
Notes: As the second attached press clipping explains, a late change to the program involved the removal of the advertised Scriabin works (preludes in C major, G major, B minor, F sharp minor, F major, and E flat minor from op. 11, and an etude, op. 42) and additional Medtner works (Fairy Tale in E minor, op. 34, no. 2, and Funeral March, op. 31, no. 2), and the inclusion of works by Liszt. The program including works by Scriabin was also to have been played in Los Angeles in March 7, but does not appear to have been given this season at all. Satina noted that the Chopin Waltz could have been either op. 64, no. 3, op. 69, no. 2, or op. 42, and that the Scriabin Etude from op. 42 was probably in C sharp minor. Satina also indicated that Medtner’s Fairy Tale in B minor could have been op. 20 or op. 34, no. 1. The second attached review refers to Balakirev's transcription of Glinka's 'The Lark' as an encore, however this is perhaps in error as it is not known to have been in Rachmaninoff's repertoire. Additional encores included Rachmaninoff's transcription of Rimsky-Korsakov's Bumble Bee, Rubinstein's transcription of Beethoven's Turkish March, and the Prelude in C sharp minor, op. 3, no. 2. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 25 1931
Rachmaninoff's role: Solo Pianist
Notes: Satina indicated uncertainty about the last number on the program, stating and that it could have been the Liszt Hungarian Rhapsody no. 9 with which Rachmaninoff was also ending programs during this season, however the attached press clipping indicates that Balakirev was programmed. While in a number of places she indicated decisively that the E flat minor Etude-Tableau was from the op. 33 set, a reference in the attached review perhaps indicates that she mistook it for the one from the op. 39 set. She noted that the Chopin Waltz could have been either op. 64, no. 3, op. 69, no. 2, or op. 42, and that Medtner’s Fairy Tale in B minor could have been op. 20 or op. 34, no. 1. Tchaikovsky's Troika and the Prelude in C sharp minor, op. 3, no. 2, are noted as the encores in the review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 26 1931
Rachmaninoff's role: Solo Pianist
Notes: As the second of the attached reviews explains, Balakirev's Islamey was played immediately after Rachmaninoff's G flat major Prelude, which explains the comment in the first attached review that it was not performed. The second reviewer's comments seem more reliable, and it appears the Etude-Tableau in E flat minor, op. 33 - which had been programmed after the Prelude - was played as an encore instead. Other encores included Tchaikovsky's Troika, Rachmaninoff's transcription of Rimsky-Korsakov's Bumble Bee, and the Prelude in C sharp minor, op. 3, no. 2. As the press clippings note, this concert had been arranged at relatively short notice. Satina notes that the Chopin Waltz could have been either op. 64, no. 3, op. 69, no. 2, or op. 42, and that Medtner’s Fairy Tale in B minor could have been op. 20 or op. 34, no. 1. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 1 1931
Rachmaninoff's role: Solo Pianist
Notes: The third of the attached reviews indicates that a Scriabin group was to have been included in the second half of the concert, as was advertised (but not played) for the second concert in Los Angeles on March 7. Satina notes that the Chopin Waltz could have been either op. 64, no. 3, op. 69, no. 2, or op. 42, and that Medtner’s Fairy Tale in B minor could have been op. 20 or op. 34, no. 1. The Prelude in C sharp minor, op. 3, no. 2, is noted as the last of the encores in the attached reviews. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 3 1931
Rachmaninoff's role: Solo Pianist
Notes: Sgambatti's transcription of Gluck's 'Melodie' is noted among the encores in the third of the attached reviews. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 5 1931
Rachmaninoff's role: Solo Pianist
Notes: The reference to the Etude-Tableau as 'warm and colorful' in the first of the attached reviews likely indicates that op. 39, no. 1, was performed. The Gluck-Sgambatti 'Melodie', Rachmaninoff's transcription of Mussorgsky's Hopak, and Rubinstein's transcription of Beethoven's Turkish March are noted as encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 7 1931
Rachmaninoff's role: Solo Pianist
Notes: According to the attached press clipping, the second half of the concert was to be different to what is outlined by Satina here; yet, adding confusion, the second of the attached reviews for the first Los Angeles concert on March 3 indicates Scriabin would be played. Until such time as a review or image of a program is found, it seems that in place of the works by Scriabin, etc., which must be doubted, the second half could have been similar to what was played a few nights later in San Diego. Satina notes that the Chopin Waltz could have been either op. 64, no. 3, op. 69, no. 2, or op. 42, and that the Scriabin Etude from op. 42 was probably in C sharp minor. Satina also indicates that Medtner’s Fairy Tale in B minor could have been op. 20 or op. 34, no. 1. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 9 1931
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that the Chopin Waltz could have been either op. 64, no. 3, op. 69, no. 2, or op. 42, and that Medtner’s Fairy Tale in B minor could have been op. 20 or op. 34, no. 1. The Prelude in C sharp minor, op. 3, no. 2, is noted as the encore in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 20 1931
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that the Chopin Waltz could have been either op. 64, no. 3, op. 69, no. 2, or op. 42, and that Medtner’s Fairy Tale in B minor could have been op. 20 or op. 34, no. 1. Rachmaninoff's Prelude in C sharp minor, op. 3, no. 2, is noted as an encore in the attached reviews. The press clippings cover the recent Soviet ban on Rachmaninoff's music, and include a reported rare comment in the second of the reviews. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 21 1931
Rachmaninoff's role: Solo Pianist
Notes: Satina wondered whether the Chopin Waltz might not have been played, and noted that Medtner’s Fairy Tale in B minor could have been either op. 20 or op. 34, no. 1. She believed that Rachmaninoff's E flat minor Etude-Tableau, op. 33, was on the program, however it is not mentioned in the attached review. Rachmaninoff's transcription of Rimsky-Korsakov's Bumblebee is noted among the encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 24 1931
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that the Chopin Waltz could have been either op. 64, no. 3, op. 69, no. 2, or op. 42, and that Medtner’s Fairy Tale in B minor could have been op. 20 or op. 34, no. 1. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 26 1931
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that the Chopin Waltz could have been either op. 64, no. 3, op. 69, no. 2, or op. 42, and that Medtner’s Fairy Tale in B minor could have been op. 20 or op. 34, no. 1. A Chopin mazurka, Rachmaninoff's transcription of Rimsky-Korsakov's Bumble Bee, and Tchaikovsky's Troika are noted as the encores in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 27 1931
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that the Chopin Waltz could have been either op. 64, no. 3, op. 69, no. 2, or op. 42, and that Medtner’s Fairy Tale in B minor could have been op. 20 or op. 34, no. 1. Chopin's Mazurka in C sharp minor, op. 63, no. 3, Rachmaninoff's transcription of Mussorgsky's Hopak, and the 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.
October 12 1931
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that this was the first performance of the Variations, op. 42. It is not entirely certain which Gavotte by Gluck (arranged by Ernest Pauer) was played during this season, although Martyn (p. 425) believes that it was from Paris and Helen. The Prelude in C sharp minor, op. 3, no. 2, is noted as the encore in the attached reviews. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 15 1931
Rachmaninoff's role: Solo Pianist
Notes: It is not entirely certain which Gavotte by Gluck (arranged by Ernest Pauer) was played during this season, although Martyn (p. 425) believes that it was from Paris and Helen. A Chopin mazurka in D major and the Waltz in E minor, 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.
October 18 1931
Rachmaninoff's role: Solo Pianist
Notes: It is not entirely certain which Gavotte by Gluck (arranged by Ernest Pauer) was played during this season, although Martyn (p. 425) believes that it was from Paris and Helen. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.