One of Lili’s final compositions, the D’un matin de printemps (Of a Spring Morning, 1917–18) is originally scored for orchestra and was then arranged for violin or flute and piano. D’un features the colorful harmonic influences of Fauré and Debussy with its rich and chromatic chordal structures. The principal theme is always powerful and stately, (even when performed pianissimo) and accompanied with persistently short attacks by the piano. Even during the more reserved sections of D’un, Boulanger creates an atmosphere of continuous lyrical, dynamic, and rhythmic intensity that drives both performers to an exciting climax; a climax that is normally reserved for the spectacular finales of the great sonatas and concertos of the literature.