Defining Prokofiev's juvenilia for piano can be a tricky undertaking, but arguably all those keyboard works without an opus number in his earliest years must suffice as the qualification. There would be at least 70 such compositions from the prolific youth, but few have survived. Those that have number at least six, though more could surface, of course.

The earliest appears to be the Allegretto in A minor, written in February, 1905, a one-minute piece reminiscent of the short Scriabin preludes then achieving some currency in Russia. From near the end of that same year came a Minuet that recalls both Schumann and Schubert, the latter especially in the trio section. In May 1906, Prokofiev wrote a March and Waltz, the former piece one of the more significant works from his early years, not least because it is the first version of his March, No. 1 from the Op. 12 Ten Pieces.

Those familiar with the later March can make comparison, and few will find reason to choose the early rendition over it. Prokofiev was obviously still learning his trade in 1906, and even though he demonstrates thematic talent and augurs his own unique harmonic gifts here, this March lacks the conciseness of the later one and features an inferior middle section. The Waltz is short, divulging a mixture of influences including Scriabin and Rachmaninov, but also foreshadowing the moods in many of the composer's own later waltzes, especially those in Cinderella (1940 - 1944).

From later in 1906 comes the Etude-Scherzo in C, a rather manic, comical piece, that, once again, suggests the composer's later style, but also has the spirit of Offenbach in its slapstick sass. Prokofiev's Phantom, Op. 3, No. 4, written about two years later, carries this same spirit but in darker sonorities. The Scherzo in D is the last juvenile piece, dating probably from around the time of these other efforts. It has some of the flavors of the composer's later music, but its joy is rather generic-sounding and its keyboard writing somewhat barren of color.

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