These three "ballades" from the year 1910 are settings of texts by Francois Villon (1431-63); these texts here inspired some of Debussy's finest vocal music. They are the only settings the composer ever made of works by Villon, a poet whose works number among the classics of medieval France. Debussy's original scoring was for voice and piano accompaniment, but he soon fashioned an alternate version for voice and orchestra.

The first of the three songs is entitled "Ballade de Villon à s'amye" (The Ballad of Villon to a Friend). The "friend" here, as in the usual medieval usage, refers to a woman. Here Debussy's music fully captures the bitter mood of the text, which expresses both suffering and regret. The somewhat declamatory vocal music is offset by more melodic writing in the piano accompaniment. While Debussy is known as a subtle creator rarely given to powerful outbursts, especially in his songs, part of this one proceeds at a forte dynamic level; the word "intense" applies to comparatively little of Debussy's music, but it is justified here.

The next item in the cycle is "Ballade que feit Villon à requeste de sa mère pour prier Nostre-Dame" (The Ballad Which Inspired Villon to Ask His Mother to Pray to the Blessed Lady). The music is modal here, and Debussy manages some deft contrapuntal writing throughout, resulting in a sound world that suggests religiosity. Nothing is overdone, and the composer invokes spirituality without ever veering toward the banal. This is perhaps the most impressive song among the three.

The last of the three songs is "Ballade des femmes de Paris" (The Ballad of the Parisian Women). The text here is humorous, probably sexist by today's standards. Debussy portrays the loquacious Parisian women of the text with vocal writing that mimics their busy chatter, and piano accompaniment that also joins in the conversation. It is all quite charming, and the glissando on the piano that ends the piece adds delicious color to the denouement.

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