Vasilenko, S. N. Hindu Melodies (Melodies hindoues), 1927. Op. 51, No. 4: "The Improviser" ("L'improvisateur"). Sheet Music. In Russian and French

Василенко С. Н. Индусские мелодии (Melodies hindoues) : Для высокого голоса, скрипки и фортепиано : Соч. 51, № 4 "Импровизатор" ("L'improvisateur").
Москва : Музыкальный сектор Государственного издательства, 1927.
5 с. Издательская иллюстрированная авангардная обложка, большой формат (35,5 × 27 см). Тираж 1000 экз. 
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Vasilenko, S. N. Hindu Melodies (Melodies hindoues) : For high voice, violin, and piano : Op. 51, No. 4 "The Improviser" ("L'improvisateur").
Moscow : Music Sector of the State Publishing House (Gosizdat), 1927.
5 pp. Publisher’s illustrated avant-garde cover, large format (35.5 × 27 cm). Print run: 1,000 copies. In Russian and French. 

This stunning 1927 large-format edition is a prime example of the "Orientalist" phase in Soviet music during the 1920s. Composed by Sergei Vasilenko (1872–1956) in 1925, the cycle Hindu Melodies (Op. 51) showcases the composer's masterful ability to synthesize Eastern musical traditions with Western classical forms. "The Improviser" (L'improvisateur), the fourth movement of the cycle, is scored for an evocative ensemble of high voice (soprano or tenor), violin, and piano.
The work features French lyrics by Marie Pissareff, which draw upon stylized Eastern poetic themes. Vasilenko, a professor at the Moscow Conservatory, was deeply influenced by the folk music of the East, often incorporating authentic scales and rhythmic patterns into his scores. In "The Improviser," the violin acts as a lyrical partner to the voice, imitating the improvisational freedom of traditional Indian instruments, while the piano provides a harmonically rich, exotic foundation.
This edition is particularly notable for its avant-garde cover design, typical of the bold aesthetic experiments found in the Soviet Union during the NEP era. The large dimensions (35.5 × 27 cm) and high-quality printing reflect the importance of the Music Sector of Gosizdat as a center for high-art musical publishing. With a limited print run of only 1,000 copies, this specific movement is a significant bibliographical rarity.
For chamber musicians, collectors of 1920s avant-garde book design, and historians of Russian Orientalism, this 1927 score is an exceptional artifact. It represents the height of Vasilenko’s creative exploration of "the exotic" and stands as a testament to the diverse intellectual currents of early Soviet musical culture.