Among the diverse figures of musical modernism in early twentieth century Europe, Alexander Scriabin was by far one of the most eccentric and most mystical. With innovative sounds and utopian ideas, the Russian composer, philosopher and mystic challenged not only performers and listeners of his time, but also frameworks of thought, categories of history, and limits of art. Scriabin's seemingly egocentric outlook, megalomania and delusions have been psychoanalyzed, ridiculed, and brushed aside. Nonetheless, he sincerely believed himself that art in general, and his own music especially, could change the world and elevate humanity to a new and higher level of consciousness. In spite of small pianist hands and symphonic opposition, Scriabin continued to composer music both for orchestra and for piano, music which few have fully understood and which none have managed to copy. Even in his early works- such as the Piano Concerto and Symphony No. 2- he was about to break with tradition and create his own style and musical expression. And perhaps at the same time he was taking important steps on the road toward the great Mystery that awaited him at the foot of the Himalayas, though only he can provide an answer. Meanwhile, listeners can appreciate music of a composer who undeniably throughout his career dared to think outside the box.