by CECIL DIXON It is not impossible that the musical historians of the future will decide to class Scriabin among the great miniaturists. His big orchestral pieces, the symphonies, the ' Poem of Ecstasy', and ' Prometheus ', appear less and less frequently in the world's symphonic programmes. Even the ten sonatas have hardly established themselves in the average concert-pianist's repertoire. But Scriabin's beautifully polished miniatures are like nothing else in the literature of the piano.