Stephen Heller - 200 Years, 2. Other Piano Works

Heller wrote a very large amount of piano music, including a quantity of studies that tended to eclipse his reputation in other genres of piano music. These latter included pieces of all kinds, including variations, character pieces, operatic transcriptions and fantasies, and a small number of sonatas, along with many dance movements and smaller forms like nocturnes, waltzes, caprices and scherzos. His career spans the period from Schumann to Massenet and Bizet, and his music suggests the paths to be taken by later Romantic composers such as Rachmaninov and Medtner.⁽¹⁾

Stephen Heller (1813 - 1888) as we have seen, settled down as a piano teacher in Paris and composed numerous piano studies for his pupils. Besides these Heller composed a long list of other piano works which are well worth exploring. Some of these are quite inventive.  Let's take a listen.

First up is a series of tarantellas: Tarantella in E minor, Op. 53, Tarantellas, Op. 85 No. 1 Presto con spirito and No. 2 Presto, and Tarantella Op. 87 (in midi). From Ten Thumbs at Good-Music-Guide.com we learn that:

Op. 53 is a large work running to over 500 bars. It has a catchy main theme, which is developed throughout, reappearing in the major in the joyfully exhilarating coda - great fun to play.
Op. 85 are shorter and were dedicated to Clara Schumann. The second seems to be relatively well known and may possibly have been used as an encore (apart from the abominations Rubinstein is reported to have performed upon it).
Op. 87 is a relatively wild beast that justifies being classed as a masterpiece. It is a good example of the boldness of which Heller's style is capable and deserves the attention of today's top pianists.⁽²⁾

Two serenades: Sérénade Op. 56 and from Drei Ständchen (Three Serenades) Op. 131, No. 2 Lento, con espressione.

[Op. 56] is one of our author's best-known works. It is highly developed, full of charming points, and it dates from a period when the composer was pursuing, with careful precision, the methods of composition which have made his style so well-marked. We notice in it a particular method of modulation, which gives to his music a character of its own, such as the alternate use of one hand, a practice which Mendelssohn had almost reduced to a system, as well as a mode of treatment of the melody in octaves by both hands at once. Heller's Sérénade merits a place among his best productions. But it is music that appeals to the refined, and is not attractive to the public at large. ~ R. Brown-Borthwick ⁽³⁾

It was this cycle [Op. 131] that first prompted me to make a thorough investigation of Heller’s works. Not only is it wonderful music but it is readily accessible and, had Heller had the right P.R. approach (he was shy and retiring) there is little doubt he would now be included among the recognized great masters of piano music.⁽⁴⁾

Elegy and Funeral March, Op. 71, dedicated to his friend Chopin. This is to me a very telling work, quoting extensively from his friend's music and improvising upon it in the saddest way, a deeply felt tribute.

Here we have a first example of Heller's uncanny ability to absorb other composers' music and make it his own.  There will be others down the road--Schumann, Beethoven, more Chopin, and Schubert.



From two sets of Preludes:  Op. 81, Nos 10, 13. Rêverie- Avec grâce (Daydream - graceful), 20. Songerie- Très lent (Dream - Very slow) and from Op. 150, Nos 1. Moderato, 4. Lento, 6. Con grazia, and 7. Allegro.

[Op. 81] is (as far as I've found) the first example of this form after Chopin and the first thing that strikes you is how different it is, much more so than later works in this genre, e.g. Scriabin. Heller gives a new form to these pieces, which is particularly noticeable in performance because of the change in hand movements that one has to adapt to.⁽⁵⁾

From Blumen-Frucht-Dornenstücke (Nuits Blanches) Op. 82 Nos 5 - 6 and No. 11 Andante con moto.

In spite of the [German] title, this cycle has nothing to do with nature study. It refers to a novel by Jean Paul (pen name of Richter) and presumably refers to the miscellany of moods and emotions arising through the book. ... The novel is Blumen- Frucht- und Dornenstücke, oder Ehestand, Tod und Hochzeit des Armenadvokaten Siebenkäs ("Flower, Fruit and Thorn Pieces; or, the Married Life, Death and Wedding of Siebenkäs, Poor Man's Lawyer") in 1796-97. The book's slightly supernatural theme, involving a Doppelgänger and pseudocide, stirred some controversy over its interpretation of the Resurrection, but these criticisms served only to draw awareness to the author. ... The French publishers changed the title altogether to 'Nuits blanches' and gave headings of their own to the individual pieces.⁽⁶⁾

Im Walde Op. 86 No. 5 Allegretto.

[Op. 86] is an integrated suite of seven pieces. It is full of poetry and mood swings leading up to the exhilaration of the 6th leading to the finale in which earlier section are subtly interwoven to bring closure. This is not like any other composer's music and it is not easy to play: the hands often need to be moved very rapidly from one part of the keyboard to another.⁽⁷⁾

From Preludes pour Mademoiselle Lili (1867), Op. 119 No. 38 in G major.

The title refers to Lili Schönemann, a young lady on whom Goethe had a crush. Heller tells us that he thinks of her as a child and these preludes are clearly composed for the enjoyment of children. Not, I must stress, specifically for their instruction. Although written for small hands, this music is hardly suitable for beginners. However, they would provide a strong indicator of talent. They include such techniques as overlapping of hands and playing one hand above the other, and also require a considerable gift for expression. It is Heller's idiosyncratic modular compositional method that makes these pieces possible - so much is packed into only a few bars. Yet it must be confessed that, whilst providing temporary delight they do not linger on the memory. Still, a real sinecure for the fatigued pianist! How can you stop, once begun?⁽⁸⁾

7 Lieder, Op. 120 No. 2 Allegro vivo, tempo rubato.

These seven lieder (or melodies) are strangely untitled. I say strangely because they clearly form a cycle and ought to be played as such. They are headed by a poem of Goethe’s that tells us that these are reflections on the past.⁽⁹⁾

Selections from Heller's two collections for the youth: from Scènes d'Enfants (Children's Scenes) Op. 124, No. 1 and from Notenbuch für Klein und Gross (Album for the Young) (publ. 1874) Op. 138, No. 5 Barcarole.

This is an obvious reference back to Schumann. However, although this cycle is suitable for intermediate pianists, it is not specifically for children; it is more a reminiscence. The individual pieces have no titles. ... Whilst these pieces are great fun, one should not overlook the originality of the writing. This kind of music only became widespread much later.⁽¹⁰⁾

[Op. 138] is Heller’s second set of pieces for children... These are designed for amusement rather than instruction, although as to be expected, the main concern is to provide scope for expression. They are essentially character pieces and are divided into five books. The history of children’s music does not seem to have been explored and would make an interesting study. These pieces are noticeably more modern than Schumann. The nearest comparison I can find is Tchaikovsky’s Album for the Young, Op. 39.⁽¹¹⁾

33 Variations on a Theme of Beethoven Op. 130 and 21 Variations on a Theme of Beethoven Op. 133.

This is the theme [Op. 130] used by Beethoven for his variations WoO80 (1806). How well these variations were known in 1871, I don’t know but Heller set himself the challenge of expanding on them. Each of Beethoven’s variations concentrates on a particular aspect of piano technique and Heller concentrates on style instead. The difference is immediately obvious visually in the score. Heller’s notes are clearly more broken up and widespread, as one might expect, in view of Romantic tradition. Nevertheless he does respect the master and makes use of material from Symphony No. 9 (v21 and v22), Symphony No. 5 (v28 and v29), and the Piano Trio Op. 3 (v32).⁽¹²⁾

[Op. 133] Heller's choice to variate a theme already variated by Beethoven is in itself intriguing, but his treatment of it in the course of the set is even more odd. For besides the continous contrasts of moods, and the large scale of the piece while maintainig a sence of form, a well infrormed listener or musician will find out that Heller not only quotes a dozen of famous works by composers such as Chopin, Schumann, and Beethoven himself, but dares to juxtapose Appassionata's second part with it's first (Variations 14 and 15) and ends with a finale miraculously juxtaposing Appassionata's second and third part!⁽¹³⁾

From Voyage autour de ma chambre (Voyage around my room) Op. 140, No. 1 Allegro Vivace, No. 3 Allegro agitato, and No. 4 Lento, con espressione.

This is based on the idea behind Xavier de Maistre’s novel of 1794 in which a confined soldier invents a fanciful journey within the walls of his room. In this original work, Heller makes a tour of his own musical imagination. The cycle consists of five parts without titles but is essentially a unified fantasy.⁽¹⁴⁾

To conclude, two more incarnations, Adieu from 21 Études spéciales après Chopin (Op. 10/3) Op. 154 and from 30 Melodies of Schubert WOO, No. 5. Die junge Mutter (The Young Mother/Cradle Song). The first is full of surprises, the second straightforward.





I hope you enjoyed this tour of Heller's music and that Ten Thumbs will forgive my extensive quotes of his/her good work on behalf of this composer at Good-Music-Guide.com.
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⁽¹⁾"Stephen Heller." Composer page, Naxos.com. (http://www.naxos.com/person/Stephen_Heller/24414.htm (12/29/2013))
⁽²⁾ Ten Thumbs, "Stephen Heller." Stephen Heller thread, reply #9, Good-Music-Guide.com, 10/09/2011. (http://www.good-music-guide.com/community/index.php?topic=19205.0 (12/29/2013))
⁽³⁾ Quoted by Epogdous, "Stephen Heller - Sérénade Op. 56 for piano." Notes to YouTube video, 04/13/2010. (http://www.youtube.com/watch?v=Jjfbj_rgNps (12/29/2013))
⁽⁴⁾ Ten Thumbs, "Stephen Heller." Stephen Heller thread, reply #60, Good-Music-Guide.com, 03/03/2012. (http://www.good-music-guide.com/community/index.php/topic,19205.60.html (12/30/2013)
⁽⁵⁾ Ten Thumbs, "Stephen Heller." Stephen Heller thread, reply #6, Good-Music-Guide.com, 09/26/2011. (http://www.good-music-guide.com/community/index.php?topic=19205.0 (12/29/2013))
⁽⁶⁾ Ten Thumbs, "Stephen Heller." Stephen Heller thread, reply #7, Good-Music-Guide.com, 09/30/2011. (http://www.good-music-guide.com/community/index.php?topic=19205.0 (12/29/2013))
⁽⁷⁾ Ten Thumbs, "Stephen Heller." Stephen Heller thread, reply #11, Good-Music-Guide.com, 10/14/2011. (http://www.good-music-guide.com/community/index.php?topic=19205.0 (12/29/2013)
⁽⁸⁾ Ten Thumbs, "Stephen Heller." Stephen Heller thread, reply #44, Good-Music-Guide.com, 01/04/2012. (http://www.good-music-guide.com/community/index.php/topic,19205.40.html (12/29/2013)
⁽⁹⁾ Ten Thumbs, "Stephen Heller." Stephen Heller thread, reply #45, Good-Music-Guide.com, 01/09/2012. (http://www.good-music-guide.com/community/index.php/topic,19205.40.html (12/29/2013)
⁽¹⁰⁾ Ten Thumbs, "Stephen Heller." Stephen Heller thread, reply #49, Good-Music-Guide.com, 01/26/2012. (http://www.good-music-guide.com/community/index.php/topic,19205.40.html (12/29/2013)
⁽¹¹⁾ Ten Thumbs, "Stephen Heller." Stephen Heller thread, reply #67, Good-Music-Guide.com, 04/26/2012. (http://www.good-music-guide.com/community/index.php/topic,19205.60.html (12/30/2013)
⁽¹²⁾ Ten Thumbs, "Stephen Heller." Stephen Heller thread, reply #59, Good-Music-Guide.com, 02/29/2012. (http://www.good-music-guide.com/community/index.php/topic,19205.40.html (12/29/2013)
⁽¹³⁾ Dchrisanthakopoulos, "Stephen Heller: 21 Variations on a theme of Beethoven." Notes to YouTube video, 05/26/2010. (http://www.youtube.com/watch?v=-NdAWn0jQbs (12/29/2013))
⁽¹⁴⁾ Ten Thumbs, "Stephen Heller." Stephen Heller thread, reply #71, Good-Music-Guide.com, 07/16/2012. (http://www.good-music-guide.com/community/index.php/topic,19205.60.html (12/30/2013)