Bourrée fantasque

The first public performance was given by Madeleine Jaeger [fr] (Mme Henry Jossic, 1868–1905) on 7 January 1893 at the Société Nationale de Musique in Paris.

[3] Unlike much nineteenth century writing for the pianoforte, the instrument is treated almost like an orchestra, and "foreshadows innovations in pianistic technique introduced by Ravel in Gaspard de la nuit and Debussy in the late Études".

The precision of the notation in each bar, dynamics from ppp to tutta forza, accents, pedal indications, bear witness to his wish to obtain an exceptional tonal variety and richness.

In 2/4 time, the piece opens with the repeated notes of the main theme (Très animé et avec beaucoup d'entrain) hammered out in the middle register of the piano, and put through its paces.

[3] In relation to the "Bourrée fantasque" Charles Koechlin affirmed that Chabrier was the forerunner of modern French composers through the boldness of his writing technique, use of certain chord progressions, and use of modal atmosphere and ancient modes – which is never artificial or imitative, but a natural means of poetic expression.