Abstract
O HAVE PLAYED the Emperor Concerto for the first time in New York, the Appassionata Sonata, a Schubert Trio (Op. ioo), the Carnaval Suite by Schumann, and works by Mozart for the first time in America, insofar as is known, and to have played them well, constitutes an enviable distinction. The vast ego of Gustave Satter however, clouded his real achievement as he stubbornly sought elusive temporal gains that forever remained beyond his grasp. His search was further confounded by the haunting belief that he was of Napoleonic lineage. When I came upon a poorly proofread brochure in the Boston Public Library with the title page inserted upside down, I had the amused suspicion that its contents might reflect a similar confusion.' The pamphlet of twenty-three pages is entitled:
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