Diary entries
February 18 1935
Rachmaninoff's role: Solo Pianist
Notes: No details, however Satina indicates that works by Bach-Tausig, Beethoven, Chopin, Rachmaninoff, and Liszt were played, indicating that the program could be similar to what was given in Oslo earlier in the month, excepting the work by Mozart. Her source appears to be Musical Opinion, 1935, Vol. 58. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 19 1935
Rachmaninoff's role: Solo Pianist
Notes: No details, however Satina indicates that works by Bach-Tausig, Beethoven, Chopin, Rachmaninoff, and Liszt were played, indicating that the program could be similar to what was given in Oslo earlier in the month, excepting the work by Mozart. Her source appears to be Musical Opinion, 1935, Vol. 58. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 21 1935
Rachmaninoff's role: Concerto Soloist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 2 1935
Rachmaninoff's role: Solo Pianist
Notes: Satina did not have a clear understanding of this concert: she initially indicated the program details were according to information received from Mr Tillett, which included Scarlatti sonatas, however she later found a review in Music Opinion, in which it was stated that Rachmaninoff played a program including the Bach-Tausig Toccata and a group of Russian works. This later opinion appears then to have been backed up by a pencilled note: ‘Correct – I was present. P Piggott’. The two attached reviews offer greater clarity, and the second half of the program appears mainly similar to what Rachmaninoff played in Stockholm on February 12; the entire program appears to be the same as was played in Glasgow on March 4. The Prelude in C sharp minor, op. 3, no. 2, is noted as the last of the encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 4 1935
Rachmaninoff's role: Solo Pianist
Notes: Satina was unable to provide a complete program, however she indicated her belief that similar works were played as the concert in London on March 2. Unfortunately, the image quality in the upper portions of the attached review is difficult to read, however details have been gleaned from those parts still legible. A mazurka and waltz by Chopin are noted as initial encores, concluding with the Prelude in C sharp minor, op. 3, no. 2. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 7 1935
Rachmaninoff's role: Concerto Soloist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 9 1935
Notes: Satina was unable to find details for this concert, however the program can be reconstructed by detailed reviews the following day in the Edinburgh Evening News and The Scotsman. The reviews indicate that Rachmaninoff's own works were different to those in the program. The transcriptions of Kreisler's Liebesleid and Rimsky-Korsakov's Bumble Bee are noted as the encores.
March 12 1935
Notes: Satina was unable find details for this concert, however it can be reconstructed from a detailed review in the Sheffield Independent on March 13. The works by Scriabin and Medtner are not named, however it is presumed they are the same as at other concerts on this tour. The review mentions two preludes by Rachmaninoff, however only the C sharp minor is named.
March 13 1935
Rachmaninoff's role: Solo Pianist
Notes: While Satina was unaware of the complete program for this recital, it can be reconstructed from a detailed review in the Yorkshire Post and Leeds Intelligencer on March 14. The works by Rachmaninoff were apparently different to those named in the program. The transcription of Kreisler's Liebesleid is noted as the encore. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 14 1935
Rachmaninoff's role: Solo Pianist
Notes: The attached reviews and press clipping outline the majority of the program, which was not known by Satina. With the exception of the Prelude in C sharp minor, op. 3, no. 2, however, it is not known which other works by Rachmaninoff were on the program. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 17 1935
Rachmaninoff's role: Solo Pianist
Notes: While Satina was unable to find any details for this concert, two attached press clippings outline an almost complete program. They are given tentatively for now, until either a review or actual program can be found. Programmatic similarities can be noted in groupings of works with preceding recitals, and it would seem likely the concert opened with the Bach-Tausig Toccata, and closed with the Dohnányi Etude-Caprice.
March 18 1935
Rachmaninoff's role: Solo Pianist
Notes: While Satina was unable to find details for this concert, the program can partially be reconstructed from the attached review in the Birmingham Gazette. The review from the Evening Despatch offers fewer details, but confirms the main works. Two Scarlatti sonatas are also noted at the concert the following day in Newcastle.
March 19 1935
Rachmaninoff's role: Solo Pianist
Notes: There is no complete program, however Satina indicates that works by Beethoven and Chopin were played in the first half, and that Scarlatti Sonatas (D major and either D minor or F minor - she notes a possible misprint for the latter), Brahms’ Ballade, op. 118, no. 3, Dohnányi’s Etude-Caprice, and works by Rachmaninoff were played in the second half. The attached press clipping from the Evening Chronicle the previous day indicates that all tickets for the concert had been sold. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 21 1935
Rachmaninoff's role: Concerto Soloist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 23 1935
Notes: While Satina was unable to find details for this concert, a press notice in the Hastings and St Leonard Observer on March 16 names the major works, and the composers of the smaller works. Hence, the program appears to be the same as what was played at earlier venues in this tour, however it is not known which works of his own Rachmaninoff played.
March 26 1935
Rachmaninoff's role: Concerto Soloist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 29 1935
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
April 8 1935
Rachmaninoff's role: Solo Pianist
Notes: Satina was unaware of the majority of items on this program, however the attached reviews have provided some further details. The program remains incomplete. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
April 10 1935
Rachmaninoff's role: Solo Pianist
Notes: Satina was unable to assemble a program for this concert, however her notes include some of the works indicated here. I am grateful to J. Falleyn for sending translations of the two attached reviews, which confirm works played, however the program remains incomplete. It could be that the complete program included the works played in other European concerts at this time, such as in London on March 2. It is possible that the concert took place in the Teatro Principado, as the Teatro Campoamor was damaged in 1934. Tchaikovsky's Troika is noted as one of two encores played. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
April 12 1935
Rachmaninoff's role: Solo Pianist
Notes: I am grateful to J. Falleyn for sending me a translation of the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
April 15 1935
Rachmaninoff's role: Solo Pianist
Notes: Satina indicated that the program was incomplete, and that a work by Liszt likely concluded the concert. This has been confirmed, with information about these works supplied by J. Falleyn. The concert was sponsored by the Association of Musical Culture. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 19 1935
Rachmaninoff's role: Solo Pianist
Notes: The Nachtstück by Schumann could be either no. 2 or no. 4. Satina appears to have a doubt about the work by Strauss-Tausig, noting that it could have been ‘Wahlstimmen’. The attached review does not provide clarity, but notes that a Chopin Waltz and the Prelude in C sharp minor, op. 3, no. 2, were given as encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 21 1935
Rachmaninoff's role: Solo Pianist
Notes: The Nachtstück by Schumann could be either no. 2 or no. 4. Satina appears to have a doubt about the work by Strauss-Tausig, noting that it could have been ‘Wahlstimmen’. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 23 1935
Rachmaninoff's role: Solo Pianist
Notes: The Nachtstück by Schumann could be either no. 2 or no. 4. Rachmaninoff's 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.
October 25 1935
Rachmaninoff's role: Solo Pianist
Notes: The Nachtstück by Schumann could be either no. 2 or no. 4. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 28 1935
Rachmaninoff's role: Solo Pianist
Notes: Satina appears unsure about the work by Strauss-Tausig, noting that it could also have been ‘Wahlstimmen’. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 30 1935
Rachmaninoff's role: Solo Pianist
Notes: A transcription of a Schubert song (likely Liszt's of Das Wandern) and Rachmaninoff's transcription of the Scherzo from Mendelssohn's Midsummer Night's Dream, are noted as encores in the attached reviews. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
October 31 1935
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 2 1935
Rachmaninoff's role: Solo Pianist
Notes: Rachmaninoff's transcription of the Scherzo from Mendelssohn's Midsummer Night's Dream, and Liszt's transcriptions of a Schubert song (likely Das Wandern) and 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.