Lot of 5 rare piano editions (Leningrad: Triton Publishing House, 1929–1935). Features arrangements and transcriptions by Maria Yudina, Alexander Siloti, and Leopold Godowsky. In Russian.

Лот из 5 редких нотных изданий для фортепиано. Ленинград: Музыкальное издательство «Тритон», 1929–1935.
1. И. С. Бах — Бранденбургские концерты: 1. Adagio из Концерта №1; 2. Andante из Концерта №2. / Переложение для фортепиано в 2 руки Ю. Н. Тюлина; под ред. М. В. Юдиной. — 1932.
2. И. С. Бах — Прелюдия. / Концертная транскрипция для фортепиано Александра Зилоти. — 1934.
3. И. С. Бах — Л. Годовский — Сарабанда. / Для фортепиано соло. — 1935.
4. Л. Годовский — Ренессанс (Renaissance). Рамо. Элегия — Лолли. Жига. — 1935.
5. Ференц Лист — Паганини-этюд №2 ми-бемоль мажор. — 1929.
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Lot of 5 rare piano editions. Leningrad: Triton Publishing House, 1929–1935.
1. J. S. Bach — Brandenburg Concertos: 1. Adagio from Concerto No. 1; 2. Andante from Concerto No. 2. / Arrangement for piano for two hands by Yu. N. Tyulin; edited by M. V. Yudina. — 1932.
2. J. S. Bach — Prelude. / Concert transcription for piano by Alexander Siloti. — 1934.
3. J. S. Bach / Godowsky — Sarabande. / For piano solo. — 1935.
4. Godowsky — Renaissance. Rameau. Elegy — Lolli. Gigue. — 1935.
5. Franz Liszt — Étude de Paganini No. 2 in E-flat major. — 1929.

This extraordinary collection of sheet music from the legendary Leningrad cooperative publishing house Triton represents the pinnacle of Soviet piano culture and avant-garde editorial practice during the 1920s and 30s. The text provides a deep dive into the internal logic of the "Leningrad school" of performance, including the arrangement of Bach’s orchestral works for the keyboard by Yuri Tyulin under the meticulous editorship of the great Maria Yudina. These editions reflect a period of intense artistic refinement, where the boundary between Baroque tradition and Modernist interpretation was actively explored. Notably, the lot includes transcriptions by Alexander Siloti—Liszt’s pupil and Rachmaninoff’s cousin—and the hyper-virtuosic "Renaissance" arrangements by Leopold Godowsky, which were highly sought after by the elite conservatory circles of the era.
The physical identity of these scores is defined by the distinctive, often minimalist cover designs characteristic of the Triton imprint, which operated as a private-public cooperative before its absorption into State control. From the 1929 Liszt Étude to the mid-30s Godowsky transcriptions, these editions document the persistence of world-class pianism and international repertoire in Leningrad. The presence of Maria Yudina’s editorial hand and Siloti’s transcriptions makes this lot a vital primary source for musicologists studying the history of Russian piano performance and the dissemination of Western virtuoso traditions within the early Soviet state. For bibliophiles and collectors of rare musicalia, these imprints are a testament to the high aesthetic and technical standards of Leningrad’s pre-war musical publishing.