Scriabin started writing in a style inherited from Chopin, yet by the first decade of the 20th century had seamlessly evolved to an advanced musical language that is still admired by musicians and composers. Born in Moscow on—according to the Julian calendar used in Russia during his life—25 December 1871, Scriabin grew up in a culture that coincided with a ferment of alternative philosophies and religions, including Theosophy and Symbolism. Many of these ideologies affirmed that music, above all other arts, had an ability to spiritually transform its audience. He ultimately saw himself—as did many of his philosopher and musician colleagues—as the musical messiah whose task was to redeem mankind with an ultimate masterwork, Mysterium. This was never fulfilled because he died in 1915 from septicemia. He left a legacy of compositions inspired by his beliefs, notably several symphonies, including No. 3, “The Divine Poem” (1904), and piano works in various genres, including 10 sonatas. These include the late-Romantic Sonata No. 3 in F-Sharp Minor (1898) and the final, otherworldly and harmonically advanced trilogy completed in the summer of 1913.