Rachmaninoff, S. V. In the Silence of the Secret Night (V molchanyi nochi taynoy): For Voice (Soprano or Tenor) with Piano Accompaniment: Op. 4, No. 3, 1933. Lyrics by Afanasy Fet. In Russian.

Рахманинов С. В.
В молчаньи ночи тайной : Для голоса (сопрано или тенор) с фортепианным сопровождением : Соч. 4, № 3. / Музыка Сергея Васильевича Рахманинова; слова Афанасия Фета.
Москва : Государственное музыкальное издательство (Музгиз), 1933.
5 с. Мягкая издательская обложка. Тираж 2000 экз.
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Rachmaninoff, Sergey.
In the Silence of the Secret Night: For Voice (Soprano or Tenor) with Piano Accompaniment: Op. 4, No. 3. / Music by Sergey Vasilyevich Rachmaninoff; Lyrics by Afanasy Fet.
Moscow : State Music Publishing House (Muzgiz), 1933.
5 pp. Original softcover. Edition of 2,000 copies.

This 1933 edition of Sergey Rachmaninoff’s In the Silence of the Secret Night (Op. 4, No. 3) is a refined example of early Soviet vocal publishing, highlighting the enduring legacy of the Russian art song (romance). Composed between 1890 and 1893 as part of his Six Romances cycle, this piece is set to the evocative poetry of Afanasy Fet, a master of lyrical intimacy. The romance is a quintessential early Rachmaninoff work, characterized by its emotional intensity and a piano part that transcends simple accompaniment to become a secondary melodic voice. The text provides a deep dive into the internal logic of the romantic idiom, including the arrangement of soaring vocal phrases that mirror the nighttime yearning of Fet’s verses and the lush, chromatic harmonies that underpin the singer’s declamation.
The 1933 publication by Muzgiz marks a period when the Soviet musical establishment sought to standardize the pedagogical and concert repertoire of Russian masters. Intended for soprano or tenor, the score demands exceptional expressive range and delicate phrasing to capture the atmosphere of "nocturnal silence." Across its 5 pages, the edition reflects the meticulous editorial standards of the 1930s, providing clear dynamic markings essential for both the vocalist and the pianist. With a relatively small print run of only 2,000 copies, this particular printing is a notable find for collectors of vocal scores and scholars of the Russian Silver Age. It stands as a definitive primary source for the study of how Rachmaninoff’s early lyrical works were preserved and distributed within the Soviet Union’s burgeoning conservatory culture.