Diary entries
November 29 1928
Notes: Satina was unaware of details for this concert, however a newspaper review indicates what was played. Translation of review: copyright J. Falleyn.
December 2 1928
Rachmaninoff's role: Solo Pianist
Notes: LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 13 1929
Rachmaninoff's role: Solo Pianist
Notes: It is likely that the key for the Chopin work was the same as performed in the same program in Cleveland, Boston and New York. Satina noted that the Schumann was not mentioned in the review of this concert she had been sent, ‘probably by mistake’. The Scarlatti Sonata in D minor was presumably L. 413, which he recorded. Rachmaninoff's transcription of Kreisler's Liebesleid and the Prelude in G minor, op. 23, no. 5 are noted as the encores in the third attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 15 1929
Rachmaninoff's role: Solo Pianist
Notes: It is likely that the key for the Chopin work was the same as performed in the same program in Cleveland, Boston and New York. The Scarlatti Sonata in D minor was presumably L. 413, which he recorded. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 23 1929
Rachmaninoff's role: Solo Pianist
Notes: The Scarlatti Sonata in D minor was presumably L. 413, which he recorded. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 25 1929
Rachmaninoff's role: Solo Pianist
Notes: Satina wondered whether, based on a review she had been sent, Rachmaninoff played Schumann’s Papillons in this concert, however the attached review confirms the program. The Scarlatti Sonata in D minor was presumably L. 413, which he recorded. The Prelude in C sharp minor, op. 3, no. 2, is noted as one of three encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
January 27 1929
Rachmaninoff's role: Solo Pianist
Notes: The Scarlatti Sonata in D minor was presumably L. 413, which he recorded. 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.
February 3 1929
Rachmaninoff's role: Solo Pianist
Notes: Rachmaninoff's transcription of Kreisler's Liebesleid is noted among the encores in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 5 1929
Rachmaninoff's role: Solo Pianist
Notes: It is likely that the keys for the Chopin works were the same as performed in the same program in Cleveland, Boston and New York. The Scarlatti Sonata in D minor was presumably L. 413, which he recorded. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 8 1929
Rachmaninoff's role: Solo Pianist
Notes: It is likely that the keys for the Chopin works were the same as performed in the same program in Cleveland, Boston and New York. The Scarlatti Sonata in D minor was presumably L. 413, which he recorded. The attached review notes the encores as Rachmaninoff's transcription of Kreisler's Liebesleid, and the Prelude in C sharp minor, op. 3, no. 2. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 10 1929
Rachmaninoff's role: Solo Pianist
Notes: It is likely that the keys for the Chopin works were the same as performed in the same program in Cleveland, Boston and New York. The Scarlatti Sonata in D minor was presumably L. 413, which he recorded. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 11 1929
Rachmaninoff's role: Solo Pianist
Notes: It is likely that the keys for the Chopin works were the same as performed in the same program in Cleveland, Boston and New York. The Scarlatti Sonata in D minor was presumably L. 413, which he recorded. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 13 1929
Rachmaninoff's role: Solo Pianist
Notes: While the attached image of the program refers to 'Sonata no. 14' by Mozart, this is presumed to be a misprint as the tempo indication for the final movement clearly relates to the Sonata in D major. A similar error appears to have occurred at the concert in New York on February 16. The Scarlatti Sonata in D minor was presumably L. 413, which he recorded. As the attached review notes, the Prelude in C sharp minor, op. 3, no. 2, replaced the Moment musical, op. 16, advertised in the press. Rachmaninoff's transcription of Rimsky-Korsakov's Bumble Bee and Tchaikovsky's Troika are noted as the encores. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 15 1929
Rachmaninoff's role: Solo Pianist
Notes: It is likely that the keys for the Chopin works were the same as performed in the same program in Cleveland, Boston and New York. The Scarlatti Sonata in D minor was presumably L. 413, which he recorded. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 16 1929
Rachmaninoff's role: Solo Pianist
Notes: As with the concert in Ann Arbor, MI, on February 13, the program appears to have included a misprint: while referencing 'Sonata no. 14' (C minor, K. 457), the tempo indications for the movements match the Sonata in D major, K. 576 (no. 18 in Mozart's catalogue). Neither Martyn or Apetian have identified the Sonata in C minor as being in Rachmaninoff's repertoire, and all of Satina's references to the Sonata in D major from this season appear without any indication of doubt. The Scarlatti Sonata in D minor was presumably L. 413, which he recorded. The attached image of the program appears with kind permission of the Carnegie Hall Rose Archives. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 22 1929
Rachmaninoff's role: Solo Pianist
Notes: Satina notes the word ‘manuscript’ for the piece by Medtner, likely indicating that it was unpublished at the time. The attached review lists the program which does not, however, include the works by Debussy or Scriabin. 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.
February 25 1929
Rachmaninoff's role: Solo Pianist
Notes: Satina notes the word ‘manuscript’ for the piece by Medtner, likely indicating that it was unpublished at the time. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 26 1929
Rachmaninoff's role: Solo Pianist
Notes: Satina notes the word ‘manuscript’ for the piece by Medtner, likely indicating that it was unpublished at the time. The second of the attached reviews notes the encores as being Tchaikovsky's Troika, the Prelude in C sharp minor, op. 3, no. 2, and Rachmaninoff's transcription of Kreisler's Liebesleid. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 27 1929
Rachmaninoff's role: Solo Pianist
Notes: Satina notes the word ‘manuscript’ for the piece by Medtner, likely indicating that it was unpublished at the time. The Prelude in C sharp minor, op. 3, no. 2, is noted as the last of four encores in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
February 28 1929
Rachmaninoff's role: Solo Pianist
Notes: Satina notes the word ‘manuscript’ for the piece by Medtner, likely indicating that it was unpublished at the time. Rachmaninoff's transcription of Kreisler's Liebesleid, Tchaikovsky's Troika, and the Prelude in C sharp minor, op. 3, no. 2, are noted as the encores in the second attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 3 1929
Rachmaninoff's role: Solo Pianist
Notes: Satina indicates that this concert began at 2.30pm. Satina notes the word ‘manuscript’ for the piece by Medtner, likely indicating that it was unpublished at the time. The Prelude in C sharp minor, op. 3, no. 2, is noted as the last of the encores in the attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 7 1929
Rachmaninoff's role: Solo Pianist
Notes: Satina notes the word ‘manuscript’ for the piece by Medtner, likely indicating that it was unpublished at the time. Rachmaninoff's Etude-Tableau is not mentioned in the attached review, yet it is listed on the program in the attached press clipping. The Prelude in C sharp minor, op. 3, no. 2, is noted as the encore. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 9 1929
Rachmaninoff's role: Solo Pianist
Notes: Satina notes the word ‘manuscript’ for the piece by Medtner, likely indicating that it was unpublished at the time. Chopin's Waltzes in E flat major and C sharp minor, the Prelude in C sharp minor, op. 3, no. 2, and Rachmaninoff's transcription of Rimsky-Korsakov's Bumble Bee are noted as the encores in the second attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 12 1929
Rachmaninoff's role: Solo Pianist
Notes: Satina notes the word ‘manuscript’ for the piece by Medtner, likely indicating that it was unpublished at the time. The Prelude in C sharp minor, op. 3, no. 2, is noted as one of the encores in the second attached review. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 17 1929
Rachmaninoff's role: Solo Pianist
Notes: Satina notes the word ‘manuscript’ for the piece by Medtner, likely indicating that it was unpublished at the time. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.
March 19 1929
Rachmaninoff's role: Solo Pianist
Notes: Satina believed that the Chopin Waltz was in F major, however the first of the attached reviews notes A flat major. Tchaikovsky's Troika and the Prelude in C sharp minor, op. 3, no. 2, are noted among the encores. The Scarlatti Sonata in D minor is presumably L. 413, which he recorded. LoC, Sergei Rachmaninoff Archive, ML31.R33, Papers of Sophie Satin, boxes 82-89.