德布西在私人信件中表達，自己在晚期對音樂有了新的領悟，德布西認為計畫中的六首奏鳴曲，在音樂上重要性是超越抒情劇的。既有文獻顯示《皮耶洛對月亮生氣》是此奏鳴曲原本的副標題，並已經廣為大多數音樂學家所接受。除此之外，當時知名法國大提琴家洛蘇發佈了聲稱來自德布西本人的皮耶洛奏鳴曲詮釋，而德布西寫了兩封信向他的出版商迪朗抱怨此事。難道這首德布西《大提琴與鋼琴奏鳴曲》，如同《牧神的午後前奏曲》的靈感取材來自詩，是以《月光小丑》的詩作為題材，和以《皮耶洛對月亮生氣》作為標題的「標題音樂」？
筆者以個人演奏詮釋的角度，想像德布西使用荀貝格音樂話劇《月光小丑》中二十一首詩的標題作為每個段落的題材，將這首曲子的節奏、和聲、與音色的材料具象化，把每個段落中的每個動機的音響效果，想像成月光小丑一連串的背景、動作與故事情節，將這首奏鳴曲詮釋成一個月光小丑完整的故事，命名為《月下琴愁》，以這部創作《月下琴愁》作為表演者演奏詮釋的的藍圖。
如此一來，這首德布西《大提琴與鋼琴奏鳴曲》的演出，已經嚴然成為一個詩、畫、與音樂所創造的《月下琴愁》想像空間，重新演奏詮釋出這首奏鳴曲非凡的歷史價值和音樂成就。
荀貝格在1912年以德文版《月光小丑》詩集中二十一首詩作為劇本，完成了其著名的音樂話劇《月光小丑》，巧合地在三年之後，德布西在1915年完成《大提琴與鋼琴奏鳴曲》。在《月下琴愁》故事的創作過程中，意外地發覺《月下琴愁》的故事與德布西《大提琴與鋼琴奏鳴曲》緊緊相扣，故事每一首詩的發展與此曲段落間的起承轉合不謀而合。難道德布西就是以法文版《月光小丑》詩集中的二十一首詩作為題材，創作出不讓荀貝格音樂話劇《月光小丑》專美於前的傲世佳作？

In a private letter, Debussy expressed that he relearned and discovered music in his late years. Debussy considered that the planned six sonatas would be more important than a lyrical drama. Existing literature shows that “Pierrot fâché avec la lune” is the original subtitle of this sonata and this has been widely accepted by most musicologists. In addition, at that time, the known French cellist, Louis Rosoor, released Pierrot-related sonata interpretations and claimed they are originally from Debussy himself. Debussy responded by writing two letters to his publisher, Durand, complaining about this incident. Does this mean that Debussy’s “Sonata for Cello and Piano” uses “Pierrot Lunaire” as the theme, much like “Prelude to the Afternoon of a Faun” draws inspiration from a poem? Would this make “Sonata for Cello and Piano” a type of “Program Music” with “Pierrot fâché avec la lune” as its title?
With an individual perspective of performing interpretation, the author imagines that Debussy uses the 21 poems’ titles from Schoenberg’s “Pierrot Lunaire, Op.21” as the themes for each section. Transform this sonata’s rhythm, harmony, and timbre into concrete images. Turn the sound motives of each section into a series of backgrounds, actions and storylines of “Pierrot Lunaire”. Interpret this sonata as a complete story of the sad clown and name it “Moon Dreamer”. Use this creative work, “Moon Dreamer”, as the blueprint for performing interpretation.
In this way, the performance of Debussy’s “Sonata for Cello and Piano” has become an imaginary display of “Moon Dreamer”, created by poetry, painting and music. This performing interpretation reevaluates the extraordinary historical value and musical achievements of this sonata.
In 1912, Schoenberg used the German version of the 21 poems from “Pierrot Lunaire” as scripts and completed his famous music drama “Pierrot Lunaire, Op.21”. Coincidentally, three years later, in 1915, Debussy completed his “Sonata for Cello and Piano”. In the process of creating “Moon Dreamer”, the author unexpectedly found that the storylines of “Moon Dreamer” tightly interlock with “Sonata for Cello and Piano”. In the story, each poem’s development coincidentally match the sonata’s exceptionally well. Does this mean Debussy uses the French version of the 21 poems from “Pierrot Lunaire” as themes, and creates a brilliant sonata no less than Schoenberg’s music drama in historical value and musical achievement?