Diary entries
October 30 1932
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 31 1932
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 1 1932
Rachmaninoff's role: Solo Pianist
Notes: Tchaikovsky's Troika, the Prelude in C sharp minor, op. 3, no. 2, the transcription of Rimsky-Korsakov's Bumble Bee, and a Chopin waltz are noted as the encores in the attached reviews. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 5 1932
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 10 1932
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 14 1932
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that the keys of the works by Chopin were based on those played in Nashville and other concerts in the season, yet the attached review indicates that Chopin's Waltz in C sharp minor replaced the usual A flat major. The Prelude in C sharp minor, op. 3, no. 2, and the transcription of Rimsky-Korsakov's Bumble Bee, are noted as two of the three encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 16 1932
Rachmaninoff's role: Solo Pianist
Notes: Rachmaninoff's Prelude in C sharp minor, op. 3, no. 2, and his transcription of the Minuet by Bizet, are noted as the encores in one of the attached reviews. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 21 1932
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that the keys of the works by Chopin were based on those played in Nashville and other concerts in the season; it might be that different works by Chopin were played in some iterations of this program. Satina also indicated that Chopin's Ballade no. 3 was not mentioned in a review of this concert, and nor is it mentioned in the one that is attached (which, given the small location, might have been all that was printed). As the reviewer mentions that Rachmaninoff 'crashed' into the song transcriptions after the Beethoven sonata, and that fewer of these are noted, this could have been a shorter concert without interval. Rachmaninoff's Prelude in C sharp minor, op. 3, no. 2 - the performance of which he notes as 'my duty' in the attached press clipping - and the transcription of Rimsky-Korsakov's Bumble Bee, were the encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 23 1932
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that the keys of the works by Chopin were based on those played in Nashville and other concerts in the season; yet it might be that different works by Chopin were played in some iterations of this program. As well as confirming the Ballade in one of the attached reviews, encores noted were the Prelude in C sharp minor, op. 3, no. 2, Tchaikovsky's Hopak, and Rachmaninoff's transcriptions of Mussorgsky's Hopak, Rimsky-Korsakov's Bumble Bee, and Bizet's Minuet. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 29 1932
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 30 1932
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that the keys of the works by Chopin were based on those played in Nashville and other concerts in the season; yet it might be that different works by Chopin were played in some iterations of this program. Satina also notes that Schubert’s song, The Brooklet, was not mentioned in the review of this concert. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 2 1932
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that the keys of the works by Chopin were based on those played in Nashville and other concerts in the season; yet it might be that different works by Chopin were played in some iterations of this program. Mussorgsky's Hopak is noted among the transcriptions in the attached review, however the press clipping lists the song typically played in this program. Rachmaninoff's Prelude in C sharp minor, op. 3, no. 2, Tchaikovsky's Troika, the transcription of Rimsky-Korsakov's Bumble Bee, and a Chopin waltz are noted as encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 5 1932
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 9 1932
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 12 1932
Rachmaninoff's role: Concerto Soloist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 22 1932
Rachmaninoff's role: Concerto Soloist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 23 1932
Rachmaninoff's role: Concerto Soloist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 10 1933
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 16 1933
Rachmaninoff's role: Solo Pianist
Notes: The Chopin Ballade was presumably no. 3 in A flat major. A Waltz in A flat major, and the Nocturne in F sharp, op. 15, no. 2, appeared in similar programs during this season. An unnamed work by Rachmaninoff, a Chopin waltz, Rachmaninoff's transcription of Rimsky-Korsakov's Bumble Bee, and the Prelude in C sharp minor, op. 3, no. 2, are noted as the encores in one of the attached reviews. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 19 1933
Notes: Satina was unable to find any details for this concert. Of interest, both she and Threlfall and Norris list the concert in San Antonio on January 23 as the premiere of the transcription of the Scherzo from Mendelssohn's Midsummer Night's Dream, however the attached reviews and press clipping indicates it was performed here. Two reviews mention a Prelude by Rachmaninoff in F sharp major: whether this was misspoken or misheard (keys of works were rarely given in programs at this time), it could have been op. 23, no. 1 (F sharp minor) or op. 23, no. 10 (G flat major) that was played. Tchaikovsky's Troika, Rachmaninoff's Humoresque, op. 10, no. 5, and Tausig's transcription of Schumann's Kontrabandiste are noted as the encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 23 1933
Rachmaninoff's role: Solo Pianist
Notes: Satina indicates that this was the first performance of the Mendelssohn transcription, which is also noted by Threlfall and Norris (III/7), however reviews and an advance press notice of the program in Macon, GA, on January 19 indicate that it was first played there. Satina indicates that the Chopin works were likely a Waltz in A flat major, the Nocturne in F sharp, op. 15, no. 2, and the Ballade no. 3 in A flat major, op. 47. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 24 1933
Rachmaninoff's role: Solo Pianist
Notes: Satina indicates that the Chopin waltz was likely in A flat major. Tchaikovsky's Troika, and Rachmaninoff's transcriptions of Mussorgsky's Hopak and Rimsky-Korsakov's Bumble Bee are noted as the encores in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 26 1933
Rachmaninoff's role: Solo Pianist
Notes: Satina indicates that the Chopin works were likely a Waltz in A flat major, the Nocturne in F sharp, op. 15, no. 2, and the Ballade no. 3 in A flat major, op. 47, the last confirmed by the attached review. She appears not to have had access to a program or review of this concert, yet her speculation based on programs given on either side is supported by the review. Tchaikovsky's Troika, Tausig's transcription of Schumann's Kontrabandiste, and Rachmaninoff's transcriptions of Mussorgsky's Hopak and Rimsky-Korsakov's Bumble Bee are noted as the encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 28 1933
Rachmaninoff's role: Solo Pianist
Notes: Satina indicates that the Chopin works were likely a Waltz in A flat major and the Nocturne in F sharp, op. 15, no. 2. Satina also notes that the works by Rachmaninoff were not mentioned in the review she had been sent. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 30 1933
Rachmaninoff's role: Solo Pianist
Notes: Satina indicates that the Chopin works were likely a Waltz in A flat major, the Nocturne in F sharp, op. 15, no. 2, and the Ballade no. 3 in A flat major, op. 47. Tchaikovsky's Troika, Rachmaninoff's transcriptions of Mussorgsky's Hopak and Rimsky-Korsakov's Bumble Bee, Tausig's transcription of Schumann's Kontrabandiste, and Rachmaninoff's Humoresque, op. 10, no. 5, are noted as the encores in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 4 1933
Rachmaninoff's role: Solo Pianist
Notes: While Satina has indicated that the Nachtstück is in F major, it is possible that it was either no. 2 or no. 4: both are in F major, although no. 2 has an F minor section. Satina believed the Schubert Impromptu was D. 935, no. 4, while Martyn (p. 434) indicates D. 935, no. 1. The Ballade no. 3 in A flat major, op. 47, was played in other programs during this season, along with a Waltz in A flat major. The Liszt Sonetto del Petrarca in E major, no. 104, was frequently played in programs in numerous earlier seasons. Satina notes that the Rapsodie by Liszt was not mentioned in a review of this concert. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 9 1933
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that the work by Scriabin was not mentioned in the review she was sent, yet the attached reviews indicate that it opened the program. The Prelude in C sharp minor, op. 3, no. 2, is noted as one of the encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 10 1933
Rachmaninoff's role: Solo Pianist
Notes: While Satina has indicated that the Nachtstück is in F major, it is possible that it was either no. 2 or no. 4: both are in F major, although no. 2 has an F minor section. Satina believed the Schubert Impromptu was D. 935, no. 4, while Martyn (p. 434) indicates D. 935, no. 1. The Ballade no. 3 in A flat major, op. 47, by Chopin was played in other programs during this season, along with the Nocturne in F sharp major, op. 15, no. 2. The Liszt Sonetto del Petrarca in E major, no. 104, was frequently played in programs in numerous earlier seasons. A waltz and mazurka by Chopin, the Prelude in C sharp minor, op. 3, no. 2, Liszt's transcription of Wagner's Spinning Song and Tausig's transcription of Schumann's Kontrabandiste are noted as the encores in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 13 1933
Rachmaninoff's role: Solo Pianist
Notes: Tchaikovsky's Troika, Rachmaninoff's transcriptions of Mussorgsky's Hopak and Rimsky-Korsakov's Bumble Bee, and the Prelude in C sharp minor, op. 3, no. 2, are noted as the encores in the attached reviews. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 14 1933
Rachmaninoff's role: Solo Pianist
Notes: While Satina has indicated that the Nachtstück is in F major, it is possible that it was either no. 2 or no. 4. Satina believed the Schubert Impromptu was D. 935, no. 4, while Martyn (p. 434) indicates D. 935, no. 1. The Liszt Sonetto del Petrarca in E major, no. 104, was frequently played in programs in numerous earlier seasons. A Chopin mazurka, Tausig's transcription of Schumann's Kontrabandiste, Rubinstein's transcription of Beethoven's Turkish March, and Rachmaninoff's transcription of Rimsky-Korsakov's Bumble Bee are noted as the encores in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.