The Petite Suite was composed in 1888-89, between the original version of La Damoiselle élue (1887-88) and the Fantaisie for piano and orchestra (1889-90). Published by Durand in February 1889, it was given its première by the composer and Jacques Durand at a private concert on 1st 1889. According to Henri Büsser, Debussy played it again shortly afterwards, this time with Dukas, in Guiraud's composition class at the Conservatoire. In 1907, Büsser produced an orchestration of the Petite Suite which the composer himself rated very highly.

Each of the four movements follows a three-part A₁BA₂ pattern, and is headed with a title suggesting motion or a dance-based inspiration.

En bateau is Debussy's first instrumental work linked to a watery setting, but is more of a genre piece than the kind of flowing, reflective composition that marked his later, Impressionist period. With its lilting 6/8 rhythm, the opening presents itself as a soft and supple barcarolle, whose melody ends in a series of sweet-sounding thirds. The rocking motion is interrupted in the central section by a change in dynamics and the appearance of dotted rhythms of more determined character. A somewhat restrained whole-tone scale acts as a transition and extends into the start of the recapitulation before returning shortly before the end, in a major-scale tetrachord.

A festive spirit prevails in Cortège. Subtle changes in expression add nuance to the first theme, characterized by its initial rhythmic cell, a joyous and incisive figure. The second theme, meanwhile, is gently syncopated and playful in nature, softening in the central section. The recapitulation begins by superimposing on to the first theme a varied element of the second, and concludes with a great burst of sound.

The Menuet opens with a brief introduction. The main theme, its modal colors giving it an archaic feel, is cast in Classical style. The central section (gracieux), by contrast, takes on subtly Hispanic hues. The recapitulation is varied by the introduction of counter-melodies and brief allusions to that Hispanic color, especially as the movement draws to an end.

The vigorous closing Ballet begins in 2/4 time with a main theme notable for its use of fourths and creates a varied landscape with modal scales moving stepwise above a dominant pedal. The central section is a lyrical waltz in 3/8, already hinted at in the final bars of the previous section. We then hear a literal repeat of the first-theme exposition, but this is unexpectedly followed by a return of the 3/8 time signature and a one-beat-to-the-bar waltz which combines the movement's two themes.

Writer: Gérald Hugon
Translated by: Susannah Howe