Scriabin, A. N. 24 Preludes. Book 1. Nos. 1–6 (C - a - G - e - D - h): For Piano: Op. 11 (24 prelyudii. Tetrad 1), 1935. In Russian.

Скрябин А. Н. 24 прелюдии. Тетрадь 1. №№ 1–6 (C - a - G - e - D - h) : Для фортепиано : Op. 11.
Москва : Государственное музыкальное издательство (Музгиз), 1935.
13 с. ; Обычный формат. Мягкая издательская обложка. Тираж 1500 экз.
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Scriabin, Alexander. 24 Preludes. Book 1. Nos. 1–6 (C - a - G - e - D - h): For Piano: Op. 11.
Moscow: State Music Publishing House (Muzgiz), 1935.
13 pp.; Regular format. Original softcover. Print run: 1,500 copies. 

This 1935 edition, released by the State Music Publishing House (Muzgiz) during the mid-1930s academic consolidation of Soviet musicology, features the first six preludes from Alexander Scriabin’s iconic 24 Preludes, Op. 11. Composed between 1893 and 1896, this cycle is a cornerstone of the piano repertoire, following the tonal structure of Chopin’s Op. 28. These early works reveal Scriabin's masterful handling of the miniature form, blending Chopinesque lyricism with a uniquely Russian intensity and increasingly complex chromaticism. The first notebook traverses a psychological spectrum from the energetic "Vivace" of No. 1 in C major to the somber "Lento" of No. 4 in E minor. The text provides a deep dive into the internal logic of the cycle’s tonal architecture, including the arrangement of the first six keys (C major, A minor, G major, E minor, D major, and B minor) which alternate between bright, rhythmic drive and melancholic, song-like expression.
Printed in a limited run of only 1,500 copies, this particular 1935 printing reflects the high demand for pedagogical music material that met the rigorous standards of the Moscow and Leningrad conservatories. Each prelude within this set focuses on a specific nuance of touch and phrasing: the playful "Vivo" of No. 3 contrasts sharply with the "Andante cantabile" of No. 5, requiring a sophisticated command of legato and dynamic shading. The 13-page volume, bound in its original softcover, remains an essential primary source for researchers studying the mid-Soviet approach to Scriabin's legacy and for performers seeking period-authentic musical editions. Its small circulation makes it a desirable find for collectors of early 20th-century Russian piano scores and Soviet musical history.