Lot of 14 rare pre-revolutionary and early Soviet sheet music editions (1880s–1919). Features works by Chopin, Liszt, Schumann, and Saint-Saëns. In Russian & French.

Collection of 14 rare pre-revolutionary and early Soviet sheet music editions. St. Petersburg, Moscow, Paris, Berlin, Leipzig: 1880s–1919.
1. Henryk Pachulski — Two Concert Études Op. 7 (No. 2. Phantom). — Moscow–Leipzig: P. Jurgenson.
2. Leopold Godowsky — Renaissance. Vol. II, Book 7 — Menuet by C. P. E. Schobert. — Berlin: Schlesinger, 1906.
3. Camille Saint-Saëns — Bacchanale from "Samson et Dalila". — Paris: Durand & Fils.
4. Carl Lütschg — School of Études. Book 7. — St. Petersburg: V. Bessel & Co., ca. 1900–1910s.
5. Franz Liszt — Valse-Caprice after Schubert. — Moscow: A. Gutheil, ca. 1900–1910s.
6. Franz Liszt — Grand Galop Chromatique (Op. 12). — Moscow: A. Gutheil, ca. 1900–1910s.
7. Franz Liszt — Valse-Impromptu. — St. Petersburg: A. Johansen, ca. 1890–1910.
8. Camille Saint-Saëns — Romance sans paroles. — Moscow: A. Gutheil, ca. 1900–1910.
9. Robert Schumann — Novelette in D major, Op. 99 No. 9. / Ed. by Rubinstein & Balakireff. — Moscow: P. Jurgenson.
10. Robert Schumann — Aufschwung, Op. 12 No. 2. / Ed. by Rubinstein & Balakireff. — Moscow: P. Jurgenson.
11. Frédéric Chopin — Two Nocturnes Op. 48. / Klindworth edition. — Moscow, 1919.
12. V. Selivanov — A Little Joke, Op. 3 No. 3. / Ed. by M. Pressman. — Moscow: P. Jurgenson, ca. 1910–1920.
13. Frédéric Chopin — Polonaise in C minor, Op. 40. — St. Petersburg: T. Stellowsky, ca. 1880–1890s.
14. Frédéric Chopin — Polonaise Op. 71 No. 2. / Klindworth edition. — Moscow: P. Jurgenson, ca. 1900–1915.

This extensive collection of fourteen large folio editions represents the cosmopolitan heart of the European and Russian musical worlds at the turn of the century. The text provides a deep dive into the internal logic of the piano virtuoso tradition, including the arrangement of Leopold Godowsky’s complex "Renaissance" transcriptions and Franz Liszt’s dazzling Grand Galop Chromatique. These scores document the high editorial standards of pre-revolutionary giants like P. Jurgenson and A. Gutheil, as well as international prestige imprints like Durand (Paris) and Schlesinger (Berlin). Notable highlights include scholarly editions of Schumann edited by the pillars of Russian music, Anton Rubinstein and Mily Balakirev, and an exceptionally rare 1919 Soviet-era Chopin printing from the very early nationalization period.
The physical identity of these scores is marked by their large folio dimensions and original covers, many featuring the elegant Art Nouveau and late-Victorian graphic design of the 1890s–1910s. The lot includes vital pedagogical materials used in the St. Petersburg Conservatory, such as Carl Lütschg’s School of Études, and virtuosic concert repertoire that once filled the imperial concert halls. From Stellowsky’s mid-Victorian Chopin imprint to the modern "Phantom" étude by Henryk Pachulski, these volumes are essential primary sources for musicologists, pianists, and collectors. They preserve the exact musical texts and tactile presence of a lost era where Moscow and St. Petersburg stood as equal capitals alongside Paris and Berlin in the global dissemination of classical art.