Diary entries
February 19 1925
Rachmaninoff's role: Solo Pianist
Notes: Satina indicated the Chopin etude was possibly op. 25, no. 1. Tchaikovsky's Troika, a Chopin waltz, 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.
February 21 1925
Rachmaninoff's role: Solo Pianist
Notes: A note by Satina indicated that in regard to the Liszt Sonetto ‘B.V. thinks it was no. 104’, which accords with other programs at this time. Satina also noted that it was likely the Prelude was the one in C sharp minor, op. 3 no. 2. The details of the works by Chopin are based on what Rachmaninoff was playing in other cities, given that she likely had access to the same review that is attached, which provides details only for the first half of the recital. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 23 1925
Rachmaninoff's role: Solo Pianist
Notes: A note by Satina indicated that in regard to the Liszt Sonetto ‘B.V. thinks it was no. 104’, which accords with other programs at this time. The attached review notes the encores as being Liszt's transcription of Schubert's 'Das Wandern' after the Schumann Sonata, and Tchaikovsky's Troika and Rachmaninoff's transcription of Mussorgsky's Hopak at the end of the recital. The first attached press clipping is a long article about Rachmaninoff and the history of Russian music by Mrs. O. J. Cameron, which appears to be the paper that had been given to students at the Victoria Conservatory, noted in the second attached press clipping. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 25 1925
Rachmaninoff's role: Solo Pianist
Notes: A note by Satina indicated that in regard to the Liszt Sonetto ‘B.V. thinks it was no. 104’. Satina’s notes also stated in regard to the Chopin Ballade that ‘one source states F major’ – it’s not clear what source this might be, although it could be the third attached review which indicates similar. Given the first attached review notes the Ballade in A flat major, the other is likely mistaken. The attached reviews indicate Tchaikovsky's Troika and Rachmaninoff's transcription of Mussorgsky's Hopak as the encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 27 1925
Rachmaninoff's role: Solo Pianist
Notes: A note by Satina indicates that in regard to the Liszt Sonetto ‘B.V. thinks it was no. 104’, which accords with other programs at this time. The attached review notes Tchaikovsky's Troika among innumerable' encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 2 1925
Rachmaninoff's role: Solo Pianist
Notes: A note by Satina indicates that in regard to the Liszt Sonetto ‘B.V. thinks it was no. 104’, which accords with other programs at this time. Both of the attached reviews are extremely difficult to read, although the second appears to confirm the program Satina supplied. (An attempt at partial transcription follows on the second page of the first.) Chopin's Waltz in A flat major, op. 64, no. 3, is noted as one of two encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 4 1925
Rachmaninoff's role: Solo Pianist
Notes: A note by Satina indicates that in regard to the Liszt Sonetto ‘B.V. thinks it was no. 104’, which would accord with other programs at this time. The second attached review notes a Chopin waltz among the encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 8 1925
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that the second Chopin Etude was possibly in C minor, op. 25 no. 12, and that end of the recital featured Liszt's Sonetto and Polonaise. In regard to the close of the program, however, the attached review indicates the Strauss-Godowsky transcription. The Rachmaninoff Etude-Tableau in A minor could either be no. 2 or no. 6. The attached review refers to three pieces by Rachmaninoff, and at present this work is unknown. Of the encores, the transcription of Kreisler's Liebesleid is noted among them. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 9 1925
Rachmaninoff's role: Solo Pianist
Notes: The attached review indicates that a Chopin Waltz in A flat major, Schubert-Liszt's 'Das Wandern', Tchaikovsky's Troika, and Rachmaninoff's transcription of Mussorgsky's Hopak were given as encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 11 1925
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 13 1925
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 16 1925
Rachmaninoff's role: Solo Pianist
Notes: Satina indicated that the Etude by Chopin was likely in E major, op. 10 no. 3. The attached review notes the encores as being Tchaikovsky (likely the Troika), Chopin's Waltz in C sharp minor, op. 64, no. 2, and Rachmaninoff's transcription of Kreisler's Liebesleid. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 19 1925
Rachmaninoff's role: Solo Pianist
Notes: The order of the Etudes-Tableaux is unknown as, also, is whether no. 2 or no. 6 was performed. At present, they are listed to conform with the order given on the program in New York on March 21. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 21 1925
Rachmaninoff's role: Solo Pianist
Notes: Satina was unaware of the Etude-Tableau in E flat minor, op. 39, no. 5, being on this program. The program images are courtesy of the Carnegie Hall Rose Museum and Archives. The attached review indicates that Rachmaninoff played 8 encores at the end of this recital. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 23 1925
Rachmaninoff's role: Solo Pianist
Notes: Two Chopin waltzes are noted among the encores in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 27 1925
Rachmaninoff's role: Solo Pianist
Notes: Satina believed the Chopin etude was likely in E major, op. 10, no. 3. A Chopin waltz in A flat major is noted among three encores in the second attached review, which also indicates slight changes to the order of the program. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 28 1925
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 30 1925
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that the Chopin etude was likely in E major, op. 10, no. 3, and that the Prelude in C sharp minor, op. 3, no. 2, was played. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 31 1925
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that the Chopin etude was likely in E major, op. 10, no. 3, which is perhaps confirmed by attached review comments. Encores are noted as Chopin Waltzes, op. 64, no. 2, and op. 64, no. 3, and Rachmaninoff's transcription of Mussorgsky's Hopak. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
April 2 1925
Rachmaninoff's role: Concerto Soloist
Notes: Satina notes that this was an afternoon concert, and that it was the first performance of the work by Aubert in New York. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
April 3 1925
Rachmaninoff's role: Concerto Soloist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
April 28, 1925
Rachmaninoff's role: Chamber Musician
Notes: This performance was not listed by Satina and, presumably, was therefore not included by Rachmaninoff in his notebook. Further doubt about Rachmaninoff's participation stemmed from him not being mentioned in the New York Times' review on April 29, and the noting of Paul Stassievitch appearing 'at short notice'; however it has been confirmed that Stassievitch replaced Alexander Siloti. Rachmaninoff performed two works with Auer in the first half of the concert.
October 29 1925
Rachmaninoff's role: Solo Pianist
Notes: Martyn (p. 434) indicates that the Schubert Impromptu was D. 899, no. 4. Satina noted that this concert marked the first performance of Rachmaninoff’s transcriptions of the works by Schubert and Kreisler. While no review or press notice has been found for this concert (apart from the smallest reference in a society column, attached), it might be speculated that four pieces from Bach's Partita were played, as they were at the following concert, before the Allemande was dropped from most subsequent performances of the program. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 2 1925
Rachmaninoff's role: Solo Pianist
Notes: Martyn (p. 434) indicates that the Schubert Impromptu was D. 899, no. 4. While in most following concerts only three pieces from the Bach Partita are noted in reviews and advance press notices, the attached review indicates that the Allemande was also played here. A Chopin mazurka was added as a final encore after the Sonata. The reviewer notes Rubinstein's transcription of the Turkish March from Beethoven's Ruins of Athens as an encore and, perhaps mistaking Mussorgsky's Hopak, also claims a work by Percy Grainger was played. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
November 3 1925
Rachmaninoff's role: Solo Pianist
Notes: Martyn (p. 434) indicates that the Schubert Impromptu was D. 899, no. 4. Satina indicated that Schubert’s Impromptu and Medtner’s Fairy Tale were not mentioned in the review she had been sent, and that Rachmaninoff’s Prelude in C sharp minor, op. 3, no. 2, was not on the program. The attached review confirms the works by Schubert and Medtner, and also notes the encores as being Rubinstein's transcription of the Turkish March from Beethoven's Ruins of Athens and Rachmaninoff's transcription of Mussorgsky's Hopak. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.