Composed in 1894. It is a posthumous work published in 1977. Dedicated to Yvonne Lerolle, daughter of the painter Henri Lerolle.

I. Lent

The first movement, “Lent” (Slowly), is marked “mélancolique et doux” (melancholy and gentle). At the beginning, the theme is presented alone, and simultaneously with its conclusion, arpeggios emerge from the low notes of the left hand. Then the theme reappears, supported by chords, and the arpeggios resound. This is followed by a succession of rich chords, with the theme played alongside bass arpeggios and inner-voice chords. In measure 32, it modulates from F-sharp minor to its parallel major, F-sharp major, creating a sense of changing color. Subsequently, the theme appears as if heard from a distance. The chordal sonorities are rich, but it concludes very quietly.

II. Dans le movement d’une “Sarabande”

The second movement, “Dans le movement d’une “Sarabande”” (In the movement of a “Sarabande”), is marked “c’est-à-dire avec une élégance grave et lente, même un peu vieux portrait, souvenir du Louvre, etc.” (that is to say, with a grave and slow elegance, even a little like an old portrait, a memory of the Louvre, etc.). This specific instruction is reflected in the thick chordal sonorities and slow tempo. Dynamics range from ppp to ff, with frequent crescendos and decrescendos, leading to a dramatic development. The harmonic sonorities, which frequently employ parallel fifths, and the modal-like melodies express a unique “elegance.”

III. Quelques aspects de “Nous n'irons plus au bois”

The third movement, “Quelques aspects de “Nous n'irons plus au bois”” (Some aspects of “We will go to the woods no more”), is followed by the words “parce qu’il fait un temps insupportable.” (because the weather is unbearable.). “Nous n'irons plus au bois” is the title of a French children's song, and “Jardins sous la pluie” (Gardens in the Rain) from Estampes (Prints) is a piece based on the same motif.

This work was composed earlier than “Jardins sous la pluie.” Fast passages with rapid figurations of small note values are common to both works, but the texture of this piece is thicker, while “Jardins sous la pluie” is lighter. In the case of “Jardins sous la pluie,” the rapid passages are almost continuous, and rich chords are used incisively. The tempo is consistently fast, and the colors change in various ways amidst the fluid musical motion. On the other hand, while this work also possesses lightness, it displays a variety of expressions through the stirring of the bass, dynamic waves of arpeggios spanning nearly five octaves, and successions of fourths reminiscent of parallel organum. The tempo slows down in the final 54 measures, and the alternation between G and F-sharp becomes the central focus of the movement. Debussy inscribed poetic instructions at the arpeggio section. The surrounding harmony changes to encompass this. It then settles on F-sharp, which is also a constituent note of the left-hand chord (F-sharp - C-sharp).

Incidentally, Debussy inscribed poetic instructions where the arpeggio figuration is introduced. The translation is as follows: “Ici les harpes imitent à s’y prendre les paons faisant la roue, ou les paons imitent les harpes (comme il vous plaira !) et le ciel redevient compatissant aux toilettes claires.” (Here the harps imitate to perfection peacocks fanning their tails, or peacocks imitate harps (as you please!) and the sky once again sympathizes with bright attire.) The word “toilettes” (attire) specifically implies “women's dress” or “outfits.”