Diary entries
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.
January 15 1934
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). While she indicated that the program she was sent was incomplete, further details have been taken from the attached reviews and press clipping. Liszt's transcription of Wagner's Spinning Song, 'a piece by Schumann', 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.
January 16 1934
Rachmaninoff's role: Solo Pianist
Notes: The keys and other details of the Chopin group were not known to Satina, and are given here according to the attached review in the Cincinnati Enquirer. The Prelude in C sharp minor, op. 3, no. 2, was one of five encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 18 1934
Rachmaninoff's role: Solo Pianist
Notes: Satina writes that instead of the Chopin group listed in the program (and as given in Cincinnati, OH, two nights earlier), Rachmaninoff played the Chopin Sonata ‘in memory of Albert Lockwood, who from 1900 to 1933 was Head of [the] Piano Department of the University School of Music, and who died 9 November 1933’. Tchaikovsky's Troika, Rachmaninoff's transcriptions of Rimsky Korsakov's Bumble Bee and Mussorgsky's Hopak, and the Prelude in C sharp minor, op. 3, no. 2, are noted as encores in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 22 1934
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). Mistakenly, however, she believed that Debussy's Pour le piano was played rather than the Children's Corner Suite. Liszt's transcription of Wagner's Spinning Song, and the Prelude in C sharp minor, op. 3, no. 2, are noted as the encores in the attached review. As one of the attached press clippings indicate, it appears Rachmaninoff attended George Gershwin's concert in Masonic Temple the evening before his recital. Another press clipping indicates that this concert was rescheduled from an earlier date of February 5. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 8 1934
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 several encores in an attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 9 1934
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.
February 11 1934
Rachmaninoff's role: Solo Pianist
Notes: A Chopin Mazurka, and Rachmaninoff's Humoresque and Prelude in C sharp minor, op. 3, no. 2, are noted as encores in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 25 1934
Rachmaninoff's role: Solo Pianist
Notes: As the attached press clippings indicate, this concert was rescheduled after Rachmaninoff cancelled due to illness on February 13. The Chopin Ballade is noted as no. 4 in F minor in one attached review, and as no. 1 in G minor in another. Of interest, Rachmaninoff played The Snow is Dancing from the Debussy suite (as indicated in one press notice) but omitted Serenade of the Doll (as noted in one of the reviews). Chopin's Nocturne in E flat major, op. 9, no. 2, 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.
February 26 1934
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 9 1934
Rachmaninoff's role: Solo Pianist
Notes: Satina references a comment from Rachmaninoff's UK agent when explaining her inability find details for this concert, noting ‘Mr Tillett wrote that most of the programs of 1934-1935 were destroyed by bombs during the war’. However, the program can be reconstructed from the attached review. There are programmatic similarities with the recital in London the following day, and with later concerts in Paris and Liège. The concert began at 3pm. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 10 1934
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that this program, which was copied from a newspaper, indicated ‘Années de Pelerinage’ for the first work by Liszt, which she presumes to be the Sonetto, as played in other recitals at this time. This appears to be confirmed in the attached review by Neville Cardus. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 13 1934
Rachmaninoff's role: Solo Pianist
Notes: While Satina was unable to find specific details, she had presumed that, based on a ‘review found in the Music Opinion, Vol. 57, 1934, the program given by Rachmaninoff had probably the same’ works as given elsewhere at this time in the United Kingdom, France and Belgium. However, an attached press clipping creates confusion, as it refers to Beethoven's C minor Variations, which did not feature in other programs of the time. The attached review, however, appears to account for this when it refers to 'two programmes' having mislead the audience. For now, the program is given as per the review in the first half, while the second half - which is not mentioned in the review - is for now based on conjecture. The Prelude in C sharp minor, op. 3, no. 2, is noted as the encore. The concert began at 3pm. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 15 1934
Notes: Satina was unable to find details for this concert, adding: ‘Mr Tillett wrote that most of the programs of 1934-1935 were destroyed by bombs during the war’. A review in the Eastbourne Chronicle on March 17, however, notes the majority of works played, indicating the program was likely identical to that given in Bath and Bournemouth; only the work by Mozart is absent from the review, and the pieces by Chopin are not specified. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 17 1934
Notes: No details. Satina adds that ‘Mr Tillett wrote that most of the programs of 1934-1935 were destroyed by bombs during the war’. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 23 1934
Rachmaninoff's role: Solo Pianist
Notes: Stuart Campbell, in 'The Russian Paris of Rachmaninoff' (2013), p. 84, provides program details that are slightly different to Satina's data, and which can only partially be confirmed by the incomplete images of the program. He references reviews in 'Renaissance' (March 25, 1934) and 'Latest News' (March 29, April 8, April 15, 1934). In his view, Liszt's Waldesrauschen was played but Rachmaninoff's Moment musical was omitted. He further notes the concert was a charity event, with the total proceeds after tax amounting to 39,294 francs, being distributed among Russian organisations and needy individuals. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 27 1934
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 19 1934
Rachmaninoff's role: Solo Pianist
Notes: Satina indicates that this concert began at 8.30pm. Satina notes that according to Rachmaninoff’s wife the Chopin Mazurka was either op. 17, no. 4 or op. 67, no. 4, or op. 68, no. 2. 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.
October 22 1934
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that according to Rachmaninoff’s wife the Chopin Mazurka was either op. 17, no. 4 or op. 67, no. 4, or op. 68, no. 2. The Prelude in C sharp minor, op. 3, no. 2, and the transcription of Kreisler's Liebesleid are noted as the encores in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 25 1934
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that according to Rachmaninoff’s wife the Chopin Mazurka was either op. 17, no. 4 or op. 67, no. 4, or op. 68, no. 2. Satina also notes that the keys for the works by Chopin and Rachmaninoff were not given, but that she has presumed them to be the same as other venues where this recital program was played at the time. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 26 1934
Rachmaninoff's role: Solo Pianist
Notes: Satina noted that according to Rachmaninoff’s wife the Chopin Mazurka was either op. 17, no. 4 or op. 67, no. 4, or op. 68, no. 2. Satina also stated that despite the program indicating Chopin’s Polonaise in F sharp minor, Rachmaninoff in fact played the Scherzo no. 3. The attached review does not, unfortunately, provide detailed information. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 28 1934
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that according to Rachmaninoff’s wife the Chopin Mazurka was either op. 17, no. 4 or op. 67, no. 4, or op. 68, no. 2. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 30 1934
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that according to Rachmaninoff’s wife the Chopin Mazurka was either op. 17, no. 4 or op. 67, no. 4, or op. 68, no. 2. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 2 1934
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that according to Rachmaninoff’s wife the Chopin Mazurka was either op. 17, no. 4 or op. 67, no. 4, or op. 68, no. 2. The Prelude in C sharp minor, op. 3, no. 2, is noted as an encore in the attached review, along with an original transcription of a work by 'Berlioz' but which, more likely, was Bizet's Minuet. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 3 1934
Rachmaninoff's role: Solo Pianist
Notes: Satina notes that according to Rachmaninoff’s wife the Chopin Mazurka was either op. 17, no. 4 or op. 67, no. 4, or op. 68, no. 2. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.