Composed in the autumn of 1895, it was premiered by Léon Delafosse at the Fauré Festival held in London in December of the following year. It was published in 1897, the year after that, and dedicated to Mademoiselle Thérèse Roger. Consisting of a theme and 11 variations, the music is structured in the tonic key of C-sharp minor until the 10th variation, with the music in the parallel major, C-sharp major, finally appearing in the last, 11th variation. This technique of deferring the major key until the very end is both distinctive and highly effective.

The Theme

The theme, marked Quasi Adagio, consists of five four-bar phrases. Its structure is ABA'BA', as if repeating from the middle section of a ternary form. When varied, this repetition is sometimes observed and sometimes not. Furthermore, even when observed, it is sometimes indicated by repeat signs and sometimes notated explicitly with notes. Notably, this work became a required piece for the Paris Conservatoire's graduation examination in 1910, at which time Fauré permitted the omission of repeats. In both the theme and the variations, the difference between A and A' primarily manifests in the harmony. The last two variations, moreover, are written in a free form, not adhering to the ternary structure.

Variation 1

Variation 1 is marked Lo stesso tempo as the theme, but the main melody sounds in the bass of the left hand (dolce e sostenuto), while the right hand plays a single line ascending and descending in the high register, pianissimo. Furthermore, there are eighth notes in the middle register playing off-beats. Therefore, throughout this variation, it is required to differentiate the three voices while maintaining the horizontal flow of each voice.

Variation 2

Variation 2 is played continuously from the previous variation without ritardando or fermata. It becomes Più mosso. Here, the outer voices played by the left and right hands, ascending on odd beats and moving in contrary motion on even beats, are characteristic. In the B section, performance skill is required to play the other notes while maintaining the main melody, which appears in both the left and right hands.

Variation 3

In Variation 3, the main melody, which begins in single notes, is doubled in octaves partway through, revealing a cleverness in the melodic treatment itself. Also, from this variation until the 5th variation, the time signature changes from 4/4 to 3/4. Therefore, when performing, it is necessary to consider how much to express the character of the 3/4 time signature in these three variations, while also conveying a sense of playing them in one breath.

Variation 4

Variation 4 is Lo stesso tempo as the previous variation. The main melody alternates between the left and right hands. Furthermore, phrases inserted here and there, serving as interjections, are effective.

Variation 5

Variation 5 is Un poco più mosso, beginning after a fermata placed on the double bar line of the previous variation. It primarily consists of contrary motion played by the left and right hands, with a subtle beauty felt in the occasional insertion of parallel motion.

Variation 6

Variation 6 is Molto adagio, a variation that requires differentiating three voices with varying note values and dynamics. Additionally, rhythmic variations are observed within this variation.

Variation 7

Variation 7 is Allegretto moderato, and its contrapuntal techniques are said to be reminiscent of Schumann. The left-hand phrases, which follow the right hand, are sometimes faithful but also show chromatic alterations, skillfully expressing the differences in expression that a single note change can convey.

Variation 8

Variation 8 is Andante molto moderato, consisting of a main melody in the upper voice, parallel motion in thirds played by the left and right hands in the inner voices, and a bass line with a pedal point in the middle section.

Variation 9

Variation 9 is Quasi Adagio, slightly slower than the theme, and possesses a nocturne-like character with abundant use of chromatic movement. Furthermore, it is highly elaborate, including the insertion of a single 2/4 bar in the middle.

Variation 10

Variation 10 is Allegro vivo, and is considered Schumann-esque in a different sense than Variation 7. The main melody alternates between the left and right hands, resounding across a wide range. The dynamic structure, which remains pianissimo in the first half and crescendos to fortissimo in the second half, is highly effective, combined with the perpetuum mobile character of this variation. Also, from this variation, the time signature returns to 3/4.

Variation 11

Variation 11, as mentioned earlier, concludes the entire work in the parallel major, C-sharp major. With its polyphonic structure, the beauty of the main melody and counter-melody stands out. It is impressive that while the climax of the entire work is built in Variation 10, and although this variation may reach fortissimo, it is characteristically written as something grounded. Also, similar to Variation 9, a single 4/4 bar is inserted in the middle.

When performing this work, the tempo setting for each variation is crucial. Fauré has provided metronome markings, but it is important to examine these markings and the character of each variation to grasp the overall tempo structure of the work.