smile, a gesture, a brief phrase, would reverberate. No one has caressed it more lightly, more tenderly, more voluptuously. No one has made of the piano-trill, for instance, more luminous and quivering a thing. And because he was so sensitive to his medium, the medium lured from out him his creative strength. He grew to his high poetic stature from an elegant and aristocratic craftsman of the school of Chopin. More than that of any modern master, his art is rooted in the great romantic tradition as it comes to us through Chopin, Wagner, Liszt and Strauss; and develops almost logically out of it. And in the compositions of his first period, the period that ends, roughly, with the piano concerto, the allegiance is marked, the discipleship undeniable. The influence of Chopin is ubiquitous. Scriabine writes mazurkas, preludes, etudes, nocturnes and waltzes in his master's cool, polite, fastidious general manner. These pieces, too, might seem to have been written in order to be played in noble salons lit by massive candelabra, to countesses with bare shoulders. The twenty-four preludes Opus 11, for instance, are full of Chopinesque turns, of Chopinesque morbidezza, of Chopinesque melodies. The harmonic scheme rarely transgresses the limits which Chopin set himself. The pieces are obviously the work of one who in the course of concert-playing has come to discover the finesses of the Pole's workmanship. And yet, Cesar Cui's caustic description of the preludes as "Bits filched from Chopin's trousseau," is eminently unjust. For even in those days, when Scriabine was a member of the Russian salon school, there were attractive original elements in his compositions. There is real poetry and freshness in these soft-colored pieces. The treatment of the instrument is bold, and, at moments, more satisfactory than Chopin's. Scriabine, for instance, gives the left hand a greater independence and significance than does as a rule his master. Nor does he indulge in the repetitions and recapitulations that mar so many of the latter's works. His sense of form is already alert. And through the silken melodic line, the sweet, rich harmonies, there already makes itself felt something that is to Chopin's spirit as Russian iron is to Polish silver.