Scriabin intermittently composed pieces based on the mazurka rhythm from his early to middle periods. It is undeniable that Chopin's mazurkas are prime examples of piano miniatures preceding Scriabin's works. However, the frequent composition of mazurkas by Tchaikovsky, Borodin, and Lyadov in Russia was also a significant factor in the genesis of Scriabin's mazurkas. One could say that Scriabin took his first steps as a composer by following in the footsteps of Chopin, his great predecessor as a pianist and composer, and by embracing the Russian musical tradition he acquired through his studies as the son of an aristocrat and his education at the Moscow Conservatory.

The collection of Mazurkas, Op. 3, was not conceived as a consistent cycle but rather as a compilation of mazurkas composed separately between 1887 and 1890, likely brought together for publication. This collection, along with Waltz Op. 1, Etudes from Op. 2, and Two Nocturnes Op. 5, was published by Jurgenson under a "no royalty" contract, becoming one of the first works published by the 20-year-old Scriabin in 1893. It is also known that some pieces from this collection (e.g., No. 4, No. 6, and No. 10) were frequently performed by Scriabin himself in his recitals even in his very late years.

No. 1 (B minor, Tempo giusto)

Composed in November 1887, this work dates from Scriabin's 16th year. In the main section, an ornamented melody is played over a B pedal point, followed by a contrasting canon using the opening motif. The frequent use of augmented seconds and augmented sixths in the accompaniment creates tension. In the trio, the music modulates to G major, unfolding a lively musical idea.

No. 2 (F-sharp minor, Allegretto non tanto)

The opening theme is characterized by an arch-shaped melody and dotted rhythms that seem to echo between the left and right hands. Harmonically, it features a progression where a prolonged, unstable dominant chord finally resolves to the tonic. The secondary section in A major is characterized by triplets and a wide range involving hand crossing, allowing one to experience the nascent stages of Scriabin's piano writing. In the short D major trio, the lively rhythmic character of the mazurka comes to the fore.

No. 3 (G minor, Allegretto)

A small-scale mazurka lacking a trio. The opening features a delicate melody in the high register as its main axis, while the contrasting secondary section is dominated by dynamic ascending arpeggios, which are repeated and transformed. The ending of the piece also employs a figure based on the latter half of the opening phrase.

No. 4 (E major, Moderato)

A mazurka with a somewhat larger structural feel, a departure from the previous piece. The simple monophonic melody played at the beginning takes center stage in the main section, performed in the high register of the right hand in the major key part and by the left hand in the minor key secondary part. The trio itself is in ternary form, juxtaposing a dynamic melody with contrapuntal texture and an accompaniment in octaves. A short but brilliant coda is also a distinctive feature.

No. 5 (D-sharp minor, Doloroso)

The theme, introduced in a canonic style, evokes emotion through rubato and chromatic progression in the left hand. Although the texture is thinner compared to other pieces, the mazurka-like rhythmic feel gradually comes to the fore. The secondary section is expressive with a melody slowly ascending from the low register and harmonically chromatic accompaniment. In the trio, it modulates to G-sharp minor, and the melody sings expansively over a sustained D-sharp in the middle voice.

No. 6 (C-sharp minor, Scherzando)

The main section is based on a single, short melodic motif. In the opening, the motif is played first by the left hand, then by the right, over a "scherzando" (joking) and light accompaniment, as indicated. In the secondary section, the tempo slightly quickens, and the same melodic motif is lightly varied. The G-sharp minor trio, in contrast, evokes rich emotion through a chromatic descent played in the middle voice.

No. 7 (E minor, Con passione)

The opening theme is centered around a chromatic descent and an ascending diminished seventh. The melody's rhythm is simple, but precisely because of this, the unique color of the intervals used stands out. In the repetition of the theme, a counter-melody is added in the middle voice, creating nuance in the music. The contrasting C major trio features a prominent dynamic accompaniment figure. Soviet Scriabin scholar L. Rubtsova points out that this trio employs a waltz-like rhythm, stating that this is a characteristic feature of Scriabin's mazurkas not found in those of Chopin or Lyadov.

No. 8 (B-flat minor, Con moto)

A characteristic feature of the piece is likely the tension created by the half notes in the accompaniment at the beginning of the theme, and the augmented second indirectly formed by the first and third notes of the opening theme's melody. These tensions are gradually resolved in the latter half of the main section. In the D-flat major trio, the melody shifts to the left hand, tracing a long arch. Rubtsova states that this trio also adopts a waltz rhythm, similar to the previous piece.

No. 9 (G-sharp minor)

The descending melody at the beginning of the main section, combined with the simple rhythm played in the middle voice and the four-part harmonic accompaniment, imbues the piece with a refined and elegant atmosphere. The secondary section, which shifts to B major, is energetic at first but immediately becomes pianississimo upon repetition, shaping the overall atmosphere of the main section. The wide-ranging accompaniment played in octaves in the trio, and the melody's progression, also ascending in octaves, create a sense of dynamism.

No. 10 (E-flat minor)

The musical idea of the main section is given an unstable impression by the persistent C-flat played on the strong beat of each measure. This instability persists until the perfect cadence in measure 32, playing a significant role in the piece. It is also important that the piece concludes unresolved precisely because of this C-flat. The opening melody is also used as a motif in the secondary section, but the musical atmosphere changes significantly due to the active accompaniment, voice exchanges, and sequences. The B major trio is also in ternary form, and its musical ideas create a vivid contrast with the tonally, melodically, and texturally unstable opening section of the piece.