Debussy: Prélude à l'après-midi d'un faune, arranged for solo piano by Leonard Borwick

Debussy published his arrangement of Prélude à l'après-midi d'un faune for two pianos in 1895, but it did not achieve the same level of perfection as the orchestral version. However, in 1910, Ravel published an arrangement for piano four hands that incorporated expressions closer to the orchestral version, and in 1914, an arrangement for solo piano was published by the British-born Leonard Borwick (1868-1925). Borwick studied with Clara Schumann at the Hoch Conservatory in Frankfurt and was known as an interpreter of Robert Schumann and Chopin; in his later years, he actively arranged works by Debussy and Ravel. His solo piano arrangement of Prélude à l'après-midi d'un faune is one of his representative works, and like Ravel's arrangement, it closely follows the orchestral version.

The piece is structured into six sections. In the first section (measures 1-30), which begins in E major, the first theme, characterized by an augmented fourth motif, is presented. Notably, glissandos (measures 4, 7), which were omitted in Debussy's two-piano arrangement, are incorporated, enhancing the performance effect. In the second section (measures 31-54), after a six-measure transitional passage, the second theme is introduced in the right hand. The subsequent third section (measures 55-78) features the majestic third theme, building the overall climax of the piece. The fourth section (measures 79-93) is formed by an alternation between the main melody based on the first theme and a dynamic descending melody, omitted in Debussy's piano version, foreshadowing the return of the theme. The fifth section (measures 94-105) begins with a restatement of the first theme but does not develop, instead leading into a quiet coda (measures 106-110) that depicts the slumbering faun.