Rachmaninoff, S. V. I Have Grown to Love, to My Misfortune (Polyubila ya na pechal svoyu): For Voice (Soprano) with Piano Accompaniment: Op. 8, No. 4, 1934. In Russian.

Рахманинов С. В.
Полюбила я на печаль свою : Для голоса (сопрано) с фортепианным сопровождением : Соч. 8, № 4. / Музыка Сергея Васильевича Рахманинова; слова Алексея Плещеева (из Тараса Шевченко).
Москва : Государственное музыкальное издательство (Музгиз), 1934.
3 с. Мягкая издательская обложка. Тираж 2000 экз.
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Rachmaninoff, Sergey.
I Have Grown to Love, to My Misfortune: For Voice (Soprano) with Piano Accompaniment: Op. 8, No. 4. / Music by Sergey Vasilyevich Rachmaninoff; Lyrics by Aleksey Pleshcheyev (after Taras Shevchenko).
Moscow : State Music Publishing House (Muzgiz), 1934.
3 pp. Original softcover. Edition of 2,000 copies. In Russian.

This 1934 edition of Sergey Rachmaninoff’s romance I Have Grown to Love, to My Misfortune (Op. 8, No. 4) is a significant example of early Soviet music publishing that preserves the melancholic essence of the Russian vocal tradition. Composed in 1893 as part of his "Six Romances" cycle, the work is set to a poem by Aleksey Pleshcheyev, which is a masterful Russian translation of a verse by the iconic Ukrainian poet Taras Shevchenko. The piece is a hallmark of Rachmaninoff’s early period, showcasing his ability to infuse simple lyrical structures with profound emotional depth. The text provides a deep dive into the internal logic of the dramatic romance, including the arrangement of a somber, minor-key piano introduction that sets a tone of tragic inevitability, followed by a vocal line of great melodic breadth and expressive sorrow.
Released by Muzgiz during a time of rigorous standardization in Soviet musical life, this 3-page score was specifically intended for soprano voice. The music demands a high degree of vocal control and "pure intonation" to navigate the subtle shifts in dynamics that underscore the themes of unrequited or ill-fated love. The piano accompaniment is notably characteristic of Rachmaninoff’s style, providing a rich harmonic foundation that acts as an equal partner to the singer. With a limited print run of only 2,000 copies, this 1934 publication is a valued primary source for collectors of pre-war musical imprints and scholars focusing on the historical performance practice of Rachmaninoff’s vocal works. It remains a poignant artifact of the cultural synthesis between Russian music, Ukrainian poetry, and early Soviet academic publishing.