This work, beginning in F-sharp major, 4/4 time, with the tempo marking Andantino cantabile, was composed in 1879 and published the following year. A version for piano with orchestra, reportedly at Liszt's suggestion, was also published in 1881. Furthermore, it is sometimes associated with Liszt due to its method of undergoing thematic transformation through three organically interconnected sections.

Throughout the work, there are rapid changes in musical indications, particularly tempo. These include not only metronome markings indicating changes but also expressions like "rit." (ritardando) that denote alterations. Broadly observing these tempo changes, one can discern a progression of varying speeds: Andantino cantabile at the beginning → Allegro moderato → Andante → Allegro → Andante → Allegro moderato. Additionally, a polyphonic approach is characteristic. The melody is skillfully handled through this technique, sometimes weaving through the voices, thus requiring it to be brought out prominently. Furthermore, the bass line played by the left hand plays a crucial role during modulations.

Incidentally, this work is said to have served as a model for the compositions of Vinteuil, a fictional composer appearing in Marcel Proust's In Search of Lost Time (À la recherche du temps perdu).