Paliashvili, Z. Two rare first editions from the opera "Abesalom and Eteri" (Abesalom da Eteri), ca. 1924–1925. In Georgian and Russian.

Zakharia Paliashvili. Lot of two rare first editions from the opera "Abesalom and Eteri".
1. "Amaghamdelo ghameo" (This Night) — Duet of Abesalom and Murman. / For tenor and baritone with piano. First edition. — Tbilisi: Sakhelgami, ca. 1924–1925. — 14 pp. : portr. ; 35 cm. Edition of 1,000 copies.
2. Duet of Abesalom and Murman "Murmano! Mitkhar, mitkhar shensa mzesa..." / Series: "Vocal pieces from the opera Abesalom and Eteri," No. 2. — Tbilisi: Sakhelgami, 1925. — 4 pp. ; 34 cm. Bilingual Georgian-Russian text.
Both editions in original large folio wrappers.

This lot presents two absolute gems of Georgian national culture: the earliest sheet music printings of Zakharia Paliashvili’s legendary opera Abesalom and Eteri. Considered the cornerstone of Georgian classical music, this opera synthesized the grandeur of European late-romantic traditions with the ancient, polyphonic soul of Georgian folk song. The first item in the lot is an exceptionally rare printing of the duet "Amaghamdelo ghameo," appearing shortly after the composer's major revisions in the early 1920s. Issued by Sakhelgami in a tiny print run of only 1,000 copies, it features a striking portrait of Paliashvili, marking it as a definitive historical artifact from the foundational years of the Tbilisi Conservatory’s publishing efforts.
The second item is a 1925 bilingual edition of the dramatic dialogue "Murmano! Mitkhar...", part of a prestigious series dedicated to the opera's vocal highlights. The text provides a deep dive into the internal logic of Georgian operatic drama, including the arrangement of the complex relationship between the prince Abesalom and his doomed friend-rival Murman. These large folio editions (34–35 cm) are not merely musical scores but monumental examples of early Soviet-Georgian book design, produced during a brief window of intense national cultural revival. For bibliophiles, musicologists, and collectors of Caucasian heritage, these 1924–1925 Tiflis imprints are vital primary sources, documenting the exact moment when Georgian opera achieved its definitive, printed form.