Diary entries
March 6 1933
Rachmaninoff's role: Solo Pianist
Notes: Satina was unsure how many of his own preludes Rachmaninoff played in the body of the recital, but this is clarified by the attached review. While she has indicated that the Nachtstück is in F major, it is possible that it was either no. 2 or no. 4. She 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 around this time. Tchaikovsky's Troika, and Rachmaninoff's Humoresque, op. 10, no. 5, and Prelude in C sharp minor, op. 3, no. 2, are noted as the encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 10 1933
Rachmaninoff's role: Concerto Soloist
Notes: As the attached reviews note, Rachmaninoff played Tchaikovsky's Troika and his transcription of Mussorgsky's Hopak as encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 11 1933
Rachmaninoff's role: Concerto Soloist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 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: 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 Liszt Sonetto del Petrarca in E major, no. 104, was frequently played in programs in numerous earlier seasons. Chopin’s Nocturne in F sharp major, op. 15, no. 2, and Ballade no. 3 in A flat major, op. 47, were often played in other recitals during this season. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 18 1933
Rachmaninoff's role: Solo Pianist
Notes: The attached review indicates that this was a 'semi-surprise' recital, as the first half was different to what had been announced; yet the attached program appears unchanged (the attached press clipping indicates what originally had been announced). 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; however, the Nachtstück was not mentioned in the review. Satina believed the Schubert Impromptu was D. 935, no. 4, while Martyn (p. 434) indicates D. 935, no. 1. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 19 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 Liszt Sonetto del Petrarca in E major, no. 104, was frequently played in programs in numerous earlier seasons. Chopin’s Nocturne in F sharp major, op. 15, no. 2, and Ballade no. 3 in A flat major, op. 47, were often played in recitals during this season. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 21 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 Liszt Sonetto del Petrarca in E major, no. 104, was frequently played in programs in numerous earlier seasons. Chopin’s Nocturne in F sharp major, op. 15, no. 2, and Ballade no. 3 in A flat major, op. 47, were often played in other recitals during this season. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 23 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. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 27 1933
Rachmaninoff's role: Solo Pianist
Notes: Satina lists this concert for March 26, however the attached press clipping indicates that it occurred the following evening. While she 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. While the press clipping indicates that three preludes by Rachmaninoff would be played in the body of the program, two of the three reviews note only two. The Prelude in C sharp minor, op. 3, no. 2, is noted as one of the encores in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
April 3 1933
Rachmaninoff's role: Concerto Soloist
Notes: Satina indicates that this concert began at 8.30pm, while the attached review notes an audience of over 16,000. Satina notes that this was part of a Five Festivals Concert arranged by Walter Damrosch for a ‘Musicians’ Emergency Fund’. At the time, Satina believed that it was the only joint appearance of Fritz Kreisler and Rachmaninoff, however it is apparent that they played - together - in a concert in Middlesbrough, UK, on October 18 1911. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
April 23 1933
Rachmaninoff's role: Concerto Soloist
Notes: The program image has been supplied by the Academy of Santa Cecilia. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
April 29 1933
Rachmaninoff's role: Solo Pianist
Notes: The Nachtstück could have been either no. 2 or no. 4. Satina notes that this was the first European performance of the Variations, op. 42. Threlfall and Norris also confirm the performance of op. 42, along with the first performance of the Gavotte and Gigue from Bach's E major Partita. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
May 3 1933
Rachmaninoff's role: Solo Pianist
Notes: The attached press clipping indicates the concert was for the benefit of the Belgian University Scholarship Fund under the patronage of the Belgian-Russian Committee for Aid to Russian students in Belgium. The Nachtstück could have been 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. Satina believed that the Prelude in B minor, op. 32, no. 10, was played, however both attached reviews note a Prelude in 'B flat' - given their account of its character, it is clear that it must have been that in B flat minor, op. 32, no. 2. Satina noted that the ‘newspapers mentioned also the C sharp minor, op. 3, Prelude – perhaps this was given as an encore’, which is confirmed by the reviews, both of which recount the inclusion insightfully. A piece by Tchaikovsky and a Chopin waltz are also noted as encores in the second review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
May 5 1933
Rachmaninoff's role: Solo Pianist
Notes: The Nachtstück could have been 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. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 9 1933
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that the Rondo by Schubert was the final movement of the Sonata, D. 850, which is confirmed by Martyn (p. 434). The Prelude in C sharp minor, op. 3, no. 2, a Chopin waltz, and Tausig's transcription of Schumann's Kontrabandiste, are noted as the encores in the attached reviews. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 10 1933
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that the Rondo by Schubert was the final movement of the Sonata, D. 850, which is confirmed by Martyn (p. 434). The attached press clipping indicates that this concert was a fundraiser for the Summit Home for Children. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 11 1933
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that the Rondo by Schubert was the final movement of the Sonata, D. 850, which is confirmed by Martyn (p. 434). LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 13 1933
Rachmaninoff's role: Solo Pianist
Notes: Satina was unable to locate precise details for this program, however a review indicates what was performed. Satina believed that the Rondo by Schubert was the final movement of the Sonata, D. 850, which is confirmed by Martyn (p. 434). The Prelude in C sharp minor, op. 3, no. 2, and a Chopin waltz are noted as the encores in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 16 1933
Rachmaninoff's role: Solo Pianist
Notes: The Rondo by Schubert was the final movement of the Sonata, D. 850. Given questions over which Beethoven Sonata was played the following night in Birmingham, the vague program reference here solely to 'op. 31' and the reference to the 'Allegro' opening movement in the attached review, it might be that the Sonata in G major, op. 31, no. 1, was played. Satina, however, believed that the Sonata in D minor, op, 31, no. 2, was played. The Prelude in C sharp minor, op. 3, no. 2, and Liszt's transcription of Wagner's Spinning Song are noted as encores in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 17 1933
Rachmaninoff's role: Solo Pianist
Notes: Satina was advised by the ‘Director of the Department of Archives and History of Alabama’ that Rachmaninoff played Beethoven’s Sonata in G major, op. 31, no. 1 at this concert. Satina notes that Rachmaninoff’s wife, who frequently accompanied him on tours, questioned this, but adds ‘we received later 3 printed programs from cities where this sonata has been played’. While Beethoven's Sonata in D minor, op. 31, no. 2, was a frequent inclusion in Rachmaninoff's programs at this time, and the sending of erroneous program information to concert promoters was not unknown, the reference in the attached review of the Birmingham Post-Herald to 'trills' in the first movement perhaps more likely indicates the Sonata in G major, op. 31, no. 1. Further, other review comments might seem to rule out the D minor Sonata; the reference in the review of the Birmingham News to 'A major' is unfortunate. Satina was unaware that a Schumann group was dropped for the works by Chopin. The Schubert Rondo was the final movement of the Sonata, D. 850. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 21 1933
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that the Rondo by Schubert was the final movement of the Sonata, D. 850, which is confirmed by Martyn (p. 434). She also believed that the Beethoven sonata was op. 31, no. 2, however given the indication of movement titles and the description of 'gentler attributes' in the first of the attached reviews, it appears likely that it was in G major, op. 31, no. 1, which seems to have been played in other concerts around this time. The first of the attached press clippings indicates the program was different to that advertised, which was to have included music by Schumann. Liszt's transcription of Wagner's Spinning Song, Tausig's transcription of Schumann's Kontrabandiste, and the Prelude in C sharp minor, op. 3, no. 2, are noted as the encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 24 1933
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that the Rondo by Schubert was the final movement of the Sonata, D. 850, which is confirmed by Martyn (p. 434). The Prelude in C sharp minor, op. 3, no. 2, is noted as one of the encores in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 27 1933
Rachmaninoff's role: Solo Pianist
Notes: Satina was unaware of the changes that were made to Rachmaninoff's program in Minneapolis. Chopin's B minor sonata, and a group of pieces by Schumann, were replaced by the Beethoven sonata and Chopin group, while Rachmaninoff's Variations, op. 42, were added. The Rondo by Schubert was the final movement of the Sonata, D. 850. The attached reviews note the encores as being Tchaikovsky's Troika, Rachmaninoff's transcription of Rimsky-Korsakov's Bumble Bee and the Prelude in C sharp minor, op. 3, no. 2. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 1 1933
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that the Rondo by Schubert was the final movement of the Sonata, D. 850, which is confirmed by Martyn (p. 434). The details of the Chopin Nocturne are according to the review, which also indicates one of Rachmaninoff's Preludes was in G minor (op. 23, no. 5). Tausig's transcription of Schumann's Kontrabandiste, 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. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 3 1933
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that the Rondo by Schubert was the final movement of the Sonata, D. 850, which is confirmed by Martyn (p. 434). LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 5 1933
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that the Rondo by Schubert was the final movement of the Sonata, D. 850, which is confirmed by Martyn (p. 434). Tausig's transcription of Schumann's Kontrabandiste, Tchaikovsky's Troika, the Prelude in C sharp minor, op. 3, no. 2, and Rachmaninoff's transcription of Rimsky-Korsakov's Bumble Bee are noted as encores in the attached review. One of the press clippings indicates that the Variations on a Theme of Corelli were to be on the program, yet the review notes the music of Debussy. Borodin's Scherzo is not mentioned in the review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 7 1933
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that the Rondo by Schubert was the final movement of the Sonata, D. 850, which is confirmed by Martyn (p. 434). Tchaikovsky's Troika and the Prelude in C sharp minor, op. 3, no. 2, are noted as encores in the attached reviews, yet they differ as to whether Rachmaninoff's transcription of Rimsky-Korsakov's Bumble Bee or Mussorgsky's Hopak closed the concert. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 9 1933
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that the Rondo by Schubert was the final movement of the Sonata, D. 850, which is confirmed by Martyn (p. 434). LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 10 1933
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that the Rondo by Schubert was the final movement of the Sonata, D. 850, which is confirmed by Martyn (p. 434). LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
December 12 1933
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that the Rondo by Schubert was the final movement of the Sonata, D. 850, which is confirmed by Martyn (p. 434). She indicated that the Preludes by Rachmaninoff were not mentioned in the review she had been sent, which is similarly the case with the two that are attached. 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.