Scriabin, A. N. 24 Preludes. Book 1. Nos. 1–6: For Piano: Op. 11 (24 prelyudii. Tetrad 1), 1928. Cover design by I. F. Rerberg. In Russian.

Скрябин А. Н.
24 прелюдии. Тетрадь 1. №№ 1–6 : Для фортепиано : Соч. 11. / Художник обложки: И. Ф. Рерберг.
Москва : Музыкальный сектор Государственного издательства, 1928.
13 с. Мягкая издательская обложка. Тираж 2000 экз.
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Scriabin, Alexander.
24 Preludes. Book 1. Nos. 1–6: For Piano: Op. 11. / Cover design by I. F. Rerberg.
Moscow : Music Sector of the State Publishing House, 1928.
13 pp. Original softcover. Print run: 2,000 copies. In Russian.

This 1928 musical edition, produced during the late NEP period by the Music Sector of the State Publishing House, features the first six preludes of Alexander Scriabin’s celebrated Op. 11 cycle. Composed between 1893 and 1896, these preludes are essential artifacts of the Russian Silver Age, marking the transition from traditional Romanticism to Scriabin's unique harmonic system. The publication is of particular aesthetic value due to its cover design by Ivan Fedorovich Rerberg, a distinguished architect and graphic artist whose neoclassical and modernist sensibilities define the visual identity of early Soviet high culture. The text provides a deep dive into the internal logic of the cycle’s opening, including the arrangement of tonal shifts from the energetic C major "Vivace" to the somber, brooding "Allegro" in B minor.
Across its 13 pages, the edition presents a meticulously engraved score designed for professional conservatory use. Each prelude serves as a distinct psychological miniature: the lyrical "Allegretto" of No. 2, the playful "Vivo" of No. 3, and the deeply expressive, melancholic "Lento" of No. 4. Rerberg's involvement elevates this sheet music from a mere pedagogical tool to a collector's item of graphic art, reflecting the period's commitment to synthesizing fine art and music. With a limited print run of 2,000 copies and printed on the characteristically fragile paper of the late 1920s, this softcover volume is a significant primary source for researchers of Scriabin’s performance history and the evolution of Soviet book and music design. It remains a sophisticated testament to the intellectual and aesthetic rigor of the pre-Stalinist cultural landscape.