Between the composition of the second and third piano sonatas (1912-1917), Prokofiev wrote a variety of works for a wide range of instruments. In addition to 'Visions Fugitives', included are the ballets 'Chout' and 'The Gambler', the Classical Symphony, the first Violin Concerto, the second Piano Concerto, and various songs. This was an extremely productive period during which his obsession with percussive sounds, colored by polytonality, was at its peak (although the Classical Symphony is an obvious exception). 'Visions Fugitives' is generally less diatonically based compared to any of the piano sonatas, although the style is quite close to the low harmonic peculiarities of the Fifth Sonata (1923). Prokofiev’s compositional process usually involved recording musical ideas as they arose, to be combined later. The form of spontaneous inspiration of the composer seems to have allowed him to produce, in 'Visions Fugitives', a series of self-contained miniatures, perfectly shaped.