Completed in Paris in 1916 during World War I. It was dedicated to his friend and composer Henri Cliquet. Milhaud was exempted from military service due to physical reasons and was engaged in duties at a refugee relief center in Paris, but the shock of his close friend, the poet Leo Latil, being killed in action at the young age of 25 in September 1915 was particularly profound. Works of a dark and somber nature, such as the String Quartet No. 3 (Op. 32) dedicated to Latil's memory, are noticeable from this period. It is also speculated that Paul Claudel, whose assignment to Brazil was decided at the end of 1916, requested Milhaud to accompany him as his secretary because he was concerned about Milhaud's despondency over his friend's death. In any case, this work is a product of a period of suffering, prior to his departure for Brazil.

The work itself is not dark; rather, it is overflowing with bright, lively, and eloquent melodies throughout, indicating Milhaud's intention to compose with a will to break through a sense of stagnation. The collisions of heavy, powerful chord clusters and the polytonality created by vertical stacking are an intensification of the techniques from his previous work, Suite (Op. 8), but it cannot be denied that they may sound strongly stimulating and unrefined to ears accustomed to his later, more refined harmonic language. On the other hand, thematic development conscious of traditional sonata form, as well as the utilization, repetition, and cyclic treatment of motives, are prominent characteristics in Milhaud's early works, and Cortot highly praised the structural strength of this piece. Despite its roughness, it is an outstanding work that leaves an unforgettable impression with its many virtues, such as the wild, forward-driving momentum of the outer movements and the delicate expression of the slow movement.

The premiere took place in 1920 at the Salon d'Automne in Paris, performed by Marthe Dron. Dron is also known for premiering Ravel's Sites auriculaires with Ricardo Viñes for two pianos. Milhaud himself, in a contribution to the Courrier Musical in 1920, praised Dron's performance but also expressed his own criticism that the work was too ponderous and lengthy. In later years, Milhaud undertook a revision, significantly cutting the second movement from the middle section onwards. Currently, this revised edition (published by Salabert in 1984) is generally in circulation. Jeremy Drake estimates the revision period to be in the 1960s. Using the original version extends the performance time by approximately two and a half minutes. It is rare for Milhaud to revise his own works, making this piece exceptional in that regard.

I. Décidé (Resolutely). 4/4 time, C major.

II. Pastoral (Modéré) (Pastorally, Moderately). 6/8 time, G major (no key signature).

III. Rythmé (Rhythmically). 2/4 time, C major.