Composed between 1886 and the following year. It is dedicated to Madame Bordes-Pène, who premiered it at the Société Nationale de Musique in May 1888.

Vincent d'Indy saw in this work the conception of a sonata. On the other hand, Jörg Demus viewed it not as a sonata, but as a free, contrapuntal, improvisatory, and symphonic form. He stated that the Aria forms the center of a "triptych." In any case, it is certain that, in addition to the connection between the Prelude and Aria motifs in the work's concluding section, the various motifs are interconnected throughout.

Compared to Franck's other piano works, the instrumental difficulty is increased. It is particularly challenging in passages with numerous performance indications, where notes across a wide range of intervals must be sustained adequately. This work clearly demonstrates that Franck possessed large hands capable of stretching widely (reportedly able to play a 12th simultaneously). Therefore, when performing, it is crucial to devise effective techniques, such as using appoggiaturas or the pedal.

Prelude in E major, Allegro moderato e maestoso, 4/4 time

It is an unforgettable melody once heard. This melody is repeated over a thick chordal texture characteristic of Franck. Between variations, sections of unison passages for both hands are interspersed, skillfully building changes in momentum.

Aria in A-flat major, Lento (ma non troppo), 2/2 time

This section is chorale-like. It is written in A-flat major, which is a mediant key relative to the preceding Prelude.

Finale, Allegro molto e agitato, 4/4 time

It builds the climax of the entire work through repeated modulations. The key changes are from C-sharp minor → A-flat major → G-sharp minor → D-flat major → E minor → E major. Furthermore, it is generally more chromatic compared to the Prelude and Aria sections. In the concluding section, the opening motif of the entire work is recalled, and the piece closes with the melancholic melody sung once more.