Publication: Paris, Simon Richault, ca 1872

Dedication: La mémoire de L. de B.

No. 1, "Petit Duo" in E major, Quite Slowly

This is the first piece of the fifth collection, which concludes the song cycle series. The entire collection consists of six pieces: "Petit Duo" – "(Andantinetto)" – "(Allegro vivace)" – "Scherzoso = Choral" – "Barcarolle". Between the fifth and sixth pieces, a short piece titled "Précis" (Summary) is included, which compiles material from previously appearing pieces.

No. 1 is a song-without-words-like piece based on a single theme and its development. This piece can be regarded as a "duo" between the right and left hands. Initially, a simple thematic melody is placed in the middle voice. From measure 14 of the middle section, which begins with a vivid modulation to G major (8 measures), the melody shifts to the little finger of the right hand. Two voices have appeared up to this point, but they do not yet form an ensemble. From measures 20 to 23, the two parts converse musically. This is their first "encounter." In the recapitulation, for the first time, two melodies proceed simultaneously in the bass and soprano registers, performing an ensemble together. Following the recapitulation, a thematic choral-like idea suddenly appears with the theme's rhythm. In the coda, the theme is emphasized as a single melody and in unison.

Since the chords change subtly with each note of the melody, great care must be taken with pedal changes. Arpeggiated chords always serve as a background to color the melody, so pay attention to your touch to avoid overshadowing the melody. In the coda, the so-called "finger pedal" technique is required for the B notes in both hands, but on modern pianos, it is also possible to manage this with the sostenuto pedal.

Publication: Paris, Simon Richault, ca 1872

Dedication: La mémoire de L. de B.(*1)

No. 4, "La voix de l'instrument" (The Voice of the Instrument), Andantino in A major

Does "l’instrument" refer to the piano? The finger pedal technique is required to sustain the melody placed in the middle voice (e.g., measures 2-4). In similar passages, if you cannot play other chords while sustaining the melody with your fingers, use the sostenuto pedal. If a sostenuto pedal is unavailable and the finger pedal technique is also insufficient, one method is to use the damper pedal to sustain the melody note, then immediately after playing the chord, re-depress the melody note to prevent it from sounding, and quickly release the pedal.

*1) It is not clear who the dedicatee of the fifth collection, "La mémoire de L. de B." (In memory of L. de B.), refers to. Setsu Kanazawa suggests that it might be the initials of Ludwig van Beethoven, whose name in French is "Louis de Beethoven", and whose works Alkan frequently performed and arranged.