Scriabin, A. N. Ten Mazurkas. Book 1: Nos. 1–5: For Piano: Op. 3 (Desyat mazurok. Tetrad 1), 1934. In Russian.

Скрябин А. Н.
Десять мазурок. Тетрадь 1: № 1–5 : Для фортепиано : Соч. 3.
Москва : Государственное музыкальное издательство РСФСР (Музгиз), 1934.
21 с. Мягкая издательская обложка. Тираж 750 экз.
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Scriabin, Alexander.
Ten Mazurkas. Book 1: Nos. 1–5: For Piano: Op. 3.
Moscow : State Music Publishing House of the RSFSR (Muzgiz), 1934.
21 pp. Original softcover. Print run: 750 copies. In Russian.

This 1934 musical edition, issued by the State Music Publishing House (Muzgiz), features the first five pieces from Alexander Scriabin’s Ten Mazurkas, Op. 3. Composed between 1888 and 1890 during his formative years at the Moscow Conservatory, these works are a profound tribute to the influence of Frédéric Chopin, yet they already reveal the seeds of Scriabin’s unique harmonic language and refined melodic sensibility. The cycle reinterprets the traditional Polish dance through a Russian lens, blending rhythmic vitality with deep lyricism. The text provides a deep dive into the internal logic of Scriabin's early style, including the arrangement of the energetic B minor Mazurka (No. 1), the graceful and light F-sharp minor (No. 2), and the poignant, melancholic "Doloroso" in D-sharp minor (No. 5), which foreshadows the emotional intensity of his later masterpieces.
Published in the mid-1930s, this edition is a significant rarity due to its exceptionally low print run of only 750 copies. During this period, Soviet music publishing focused on creating high-quality pedagogical materials for the nation’s growing conservatory system, and this volume served as a primary source for students mastering the nuances of late-Romantic piano performance. Each mazurka in this notebook—from the lively G minor (No. 3) to the song-like E major (No. 4)—requires a sophisticated understanding of rubato and dynamic contrast. This 21-page softcover publication is a valuable find for collectors of Scriabiniana, documenting the early creative steps of one of the 20th century’s most enigmatic composers and providing a tangible link to the Russian piano school of the pre-war era.