Written during the composer's final year, these pieces are Tchaikovsky's most sophisticated piano miniatures, even though they adhere to his usual ABA pattern. Some seem to have begun as discarded fragments of the Pathétique Symphony, on which Tchaikovsky was working at about the same time.

No. 1, an Impromptu in F minor, skips and runs the right hand across the keyboard while the left hand maintains a staccato accompaniment; the second section tinkles along music-box style. No. 2, a Berceuse, might just as well have been titled Barcarolle for its gentle rocking accompaniment to an increasingly, though delicately, embellished melody. No. 3, Tender Reproaches, is more reproachful than tender; it begins in mild agitation, then breaks into an even more animated B-section theme. Fourth comes Danse caractéristique, an impetuous piece that calls for some virtuosity; the middle section begins even more playfully, and ends up with its melody in impressive octaves. No. 5, Méditation, is a poised treatment of an F- sharp minor cantabile theme, with the central B section working up an almost operatic climax. The sixth item, Mazurka pour danser, is exactly as billed: a 3/4 mazurka, fairly brilliant but with rubato kept to a minimum.

Tchaikovsky maintains the Polish theme in No. 7, a grand Concert Polonaise in E flat. After a flamboyant introduction, the piece proceeds very much in the manner of Chopin's "Heroic" and "Military" polonaises. The contrasting B section is more delicate and detailed; indeed, this delightful interlude risks sounding prissy in such surroundings. No. 8, in complete contrast, is a nostalgic piece called Dialogue, with questioning bits of melody exchanged between the right and left hand, against a restless accompanimental figure. The middle section begins sweetly, but quickly erupts in a more passionate outburst. No. 9, Un poco di Schumann, is actually less Schumannesque than some of Tchaikovsky's earlier piano pieces, but this is built on the skipping, syncopated sort of rhythm that Schumann had used so often, as well as a surging-falling primary melody that also calls the German master vaguely to mind.

No. 10 is an extended E-flat minor Scherzo Fantasie. Semyon Bogatyryev orchestrated this piece when he needed a scherzo to drop into his completion of Tchaikovsky's Symphony No. 7. No. 11 is more of a salon piece, a Valse bluette, skittish and teasing in its outer sections, more lyrical but highly ornate in the middle. No. 12 is called L'Espiègle, referring to a rogue or trickster. This short piece is all impish passagework and runs, with very little sustained melody.

No. 13, Echo rustique, is a sparkling music-box tune in the treble alternating with a lower, gruffer folk air. No. 14, Chant élégiaque, bears a suspiciously strong resemblance to Liszt's Liebestraum No. 3, but harmonized in Tchaikovsky's Russian-ballad manner. No. 15, Un poco di Chopin, is another mazurka—much freer than No. 6—with a middle section of long runs that actually call to mind one of Chopin's waltzes rather than his mazurkas.

No. 16 is a lively, asymmetrical Valse à cinq temps in 5/8 time. No. 17, Distant Past, is intensely nostalgic but not at all gloomy; the mellifluous, cantabile main section is briefly interrupted by a slightly agitated middle portion. No. 18 is Scène dansante (Invitation au Trépak). The introduction is literally the invitation to the dance, steady and declamatory. The trepak itself (recall the famous Russian dance from The Nutcracker) is impetuous to begin with, and quickly works up to a dazzling conclusion-except that it fades into a thoughtful little coda before ending with two curt chords.

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