A work comprising eight character pieces, arranged in a suite-like fashion. It is believed to have been composed around 1911–1912. Its Romantic conception and piano writing are influenced by Schumann. It depicts a world of children's carnival and clownish masquerade, and Sévérac stated that he "simplified his language both in a technical and musical sense." It is an appealing "collection of romantic miniatures of moderate difficulty," characterized by its clear and approachable melodies. Sévérac began composing a second collection with the same title, En vacances, in 1921, but passed away before its completion.

1. Invocation à Schumann

The gently swaying melody in 6/8 time is reminiscent of the first piece from Schumann's Kinderszenen. The melody should be clearly brought out, yet expressively. Natural expression, adapting to the ascending and descending movements, would be effective. Also, be mindful of the harmonic changes in the left hand.

2. No 1, Les caresses de Grand’Maman (Grandma's Caresses)

2/4 time, D major. The beautiful melody, sung "slowly, very expressively," is very gentle and evokes a sense of nostalgia. Note that the final notes of each phrase are struck repeatedly. Depending on the context, these notes create a sense of reassurance or heighten tension.

3. No 2, Les petites voisines en visite (The Little Neighbors Visiting)

2/4 time, C major, played "gaily and fast, in rondo tempo." Sections beginning on weak beats and phrases beginning on strong beats alternate, giving the piece momentum and interest. A piece that conveys the innocent charm of children.

4. No 3, Toto déguisé en Suisse d’Eglise (Toto Disguised as a Church Swiss Guard)

4/4 time. "Expressively, slowly, and grandly." Perhaps it simultaneously depicts a boy dressed as a church Swiss Guard, behaving formally, and the warm gaze of the adults watching over him? The delicate note movements interspersed within the quarter-note chords possess a childlike charm.

5. No 4, Mimi se déguise en “Marquise” (Mimi Disguised as a “Marquise”)

3/4 time, D minor, with a middle section in D major. "In minuet tempo." It depicts a girl elegantly behaving as if disguised as a marquise. Playing the 3/4 time with a light touch and effectively using sforzandos will tighten the rhythm.

6. No 5, Ronde dans le Parc (Rondo in the Park)

2/4 time, A major, Andantino. A dance piece with an elegant atmosphere. Pay particular attention to ensuring that the ends of phrases are not sloppy, and play with a sense of connection to the next note.

7. No 6, Où l’on entend une vieille boîte à musique (Where One Hears an Old Music Box)

12/8 time, B-flat major. Continuous triplets are strung together, and the changes in sound they weave beneath the sparkling melody are beautiful. The three notes must be played at equal intervals, but this should never sound mechanical. Aim to create balanced intervals between notes by utilizing flexible wrist rotation.

8. No 7, Valse Romantique (Romantic Waltz)

3/4 time, E-flat major. "Lively and fast." An attractive waltz combining elegance with sophisticated brilliance. It seems to have often been played as an encore piece, along with No. 6. While feeling the 3/4 time is certainly important, in this piece, the sensation of perceiving an entire measure as one large beat is also crucial. Since each of the three voices has a different role, it would be good to differentiate them well in playing to give the piece momentum.