The Danses Champêtres were published in 1924. The first number is the focus of attention here. As with Roussel's Divertissement, I cannot hear the opening chords clearly as the major dominant ninth, here as IV9 in D minor, but the argument is much harder to make this time. Here is the opening in the violin:
Obviously a strongly articulated D minor triad followed by a close to the dominant. But Sibelius puts this (below) in the piano and the triad is undermined/colored/shifted/nuanced/you-name-it by a powerful d: IV9 (first box), then IV4/3 at the bottom of the melody D4 (second box), and the harmony isn't anywhere near A minor when the melody closes on A5 (in the second system).
As I said, I really ought to hear d:IV9 at the opening but I have listened several times to one of the excellent commercial recordings available through subscription to IMSLP and I just can't do it. The violin part is one element; also, there's more of a D minor triad in the first chord than G9; A5 is at the top of the chord at beat 3 but the frame of the chord--disregarding the held bass G for the moment--is still D minor; and B-nat sounds as much like an add6 as a chordal third. Beyond that, the appearance of IV9 in a minor key context is a surprise, and the traditional topical expectations for a major dominant ninth chord are all off: a powerful, sombre gesture rather than the pastoral or the Wagnerian moment of excess emotion. In sum, then, I know I ought to hear this is as a clear IV9 but I can't.
The situation doesn't change for later transposed statements. Here's one:
Only at the end is the passage played "as it should be" with an elaborate flourish over d: N6–V6/4-5/3 and a resounding D minor triad:
