Stephen Heller

[Ten thumbs]

Op.131 3 Ständchen

This designation seems to me to make more sense than the French one of Nocturnes. It was this cycle 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 amongst the recognised great masters of piano music.

1. This begins with a gentle serenade (una corda) over an Ab major pedal. This moves through F min & Eb min to Db where the soft pedal is released. The serenade returns with embellishments before the music switches to nine bars of a taratella and some very rapid passagework (vivacissimo), which finally descends chromatically back to the opening with even more decoration. The tarantella attempts to return but stutters into silence before an impressionistic flourish brings the piece to a close.
2. Again Heller begins una corda over a pedal but here the melody is elegiac and ends after only ten bars. Insistent rapid 16th note phrases follow that are very difficult to master, as the tempo increases to quaver = 152 at which it continuies through two snatched of the melody before tempo 1 is reached. The mournful melody soon gains an arpeggiated accompaniment, first in C and then in F before normality is returned. The molto animato 16th notes then return but soon descend into a long trill that ends in a ghostly manifestation of the melody, now in G with the arpeggios high in the upper ranges. Finally the 16th note phrase undulates to a quiet G major conclusion.
3. The third melody is marked ben accentuato and for once Heller seems to be showing his Hungarian heritage. A magnificent passage follows in which the music alternates between the upper and lower keyboard. The midsection smooths the melody chromatically, translating it from A min to A and giving it a syncopated backing. More strongly rhythmic passages follow before the opening section is repeated, ending in a sudden hiatus. In the coda the main melodic phrase is stretched further and further upwards with rushing torrents of notes (take care – these begin in parallel but become 8 notes against 7 ending in A – F# and then A – G#). Finally the music ends with a five octave ascending A minor melodic scale. 

I'd back this against Brahms Op.117 any day, much as I appreciate the latter.

[Ten thumbs]

Op.132 2 Polonaises

In contrast to the Ständchen these are very formal pieces. Their very ceremonial style suggests that Heller is showing some solidarity with the Polish people following the Franco-Prussian war. Poland did not exist at that time, being partitioned between Russia and Germany. They do not seem to reflect the music of Chopin and it may be that Heller had heard some characteristic Polish music from exiles living in France. Played in that light, their grandeur of expression makes them worthwhile but they do not appear to reflect the composer's style of that period. In fact the composer who comes most to mind is Xaver Scharwenka, another whose music is said to be due for reassessment (including 4 piano concertos, I believe).
Curiously, the edition I have has a French title page but was published 'Chez N. Simrock à Berlin'! (dedication to Alys Mary Shillito)

[Ten thumbs]

Op.133 21 Variations on a Theme of Beethoven (1872)

By choosing the theme from the slow movement of the Appassionata Sonata, Heller set himself a stiff task. However, the melody is by its nature ideal for the purpose and combined with Heller's natural inventiveness the end result is a monumental work of great strength and interest.
Some of the variations could be played as individual pieces, especially those with a reprise, such as the very lovely No.5,and No.7. Also the funereal No.11 together with No.12, and No.15.
Heller also draws on the other movements of the sonata, as in No.14 and No.,15 from the first movement and the clever use of the Finale in No.21.

Earlier, Brahms composed his variations on a theme of Handel. In many ways, Heller's variations are of a similar stature and the good musician will view both these works in the same light – showing the greatness of the originals through displaying some of their many possibilities.
I would like to thank Dchrisanthakopoulos for his recordings on YouTube. Don't be discouraged by any of the negative feedback. It shows how easy it is to lose the power to think. I hope you may have encouraged the production of a commercial recording of this work in the near future.

Just one question - was there a negative reaction to German composers following the war?

[Ten thumbs]

Op.134 Petit Album (1873)

As indicated by the title, this is a French album. The 'petit' element possibly refers to a lack of complexity although it does contain plenty to get to grips with. Coming straight from earlier Heller it sounds disconcerting due the openness of the harmonies. Now I'm becoming used to it, I can appreciate the different way in which it uses chromaticism.
The movements are:
1. Novellette
2. Scherzino
3. Romance
4. Arabesque
5. Questions
6. Réponse
The key sequence is
Db - D min – F – A min – ? - C
The key of the fifth piece is ambiguous, as one might expect from its title, and it closes on the chord BDFA.

[Ten thumbs]

Op.135 2 Intermèdes de Concert (1873)
(2 Intermezzi – New York edition)

These two pieces in the contemporary style of the time exhibit the composer's mastery. Although they can be played separately they do form a pair and are clearly linked thematically (compare the opening theme of the first with the andante in the second).
Structurally, both are easily identifiable as Heller's work due to their modular composition. In the first the main theme is treated almost in the manner of variations. In the second the doubling of the melodic line in places gives an almost operatic air.
Perhaps more importantly this is memorable music – it sticks in the mind and invites further hearing.

They have been recorded by Ilona Prunyi

[Ten thumbs]

Op.136 Im Walde
This third series makes strong reference once again to Die Freischutz. Althought the music is vintage Heller, it concentrates  more on the human element and there is little of the impressionistic sensibility of the previous set.

1. Im Walde. There are two components here that alternate – one seems to represent the protagonists who are entering the forest, the other the voice of the forest itself; this being represented by whirling sextuplets, which at the end fade into silence.
2. Max. The hero is represented by characteristic hunting music alternating with an undulating motif of a more passionate nature. This piece ends in emphatic triumph.
3. Agathe. A mournful reflection of great tenderness that includes a brief reflection on Max's passion – attacca –
Agathe und Max.  Agathe's song continues but is interrupted by Max's arrival, whereupon one can imagine them singing in unison (con tenerezza).
4. Strophen des Caspar. A suitably demonic outburst (marked 'mordente= biting). This mood is pursued relentlessly from first note to last.
5. Aennchen und Agathe. A lighter interlude – an intimate scene of great charm and delicacy.
6. Wild Flowers. Heller returns to the simplicity of nature before closing the cycle with an epilogue and a reprise of Max's ardour and triumph from No.2.

[Ten thumbs]

Op.137 2 Tarantellas

Heller returns to this form after a long absence. The most obvious features are relatively simple textures and frequent doubling between the hands. Those who like complexity will criticize but if you want fast exciting music, too many unnecessary notes can only hold back the sense of pace. Both these pieces need to be taken at a fair lick.
These tarantellas are great fun but I won't make any special claims for them beyond that, except to say that they do not deserve neglect.

[Ten thumbs]

Op.138 Album for the Young

This is Heller's second set of pieces for children, the other being the Preludes for Lili (Op.119). 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.
The contents are:
Book 1 (5 Liede ohne Worte)
1. Zueignung (Dédicace)
2. Sanfter vorworf (Doux reproches)
3. Abenddämmerung (Crépuscule)
4. Chasseur en herbe
5. Barcarolle
Book 2
6. Etude
7. Gedenkblatt (un billet à Hans Schmitt de Vienne)
8. Scherzetto
9. Curieuse histoire
10. Enfant qui pleure
Book 3
11. Ses camarades le consolent
12. La muette
13. Adieu du chasseur
14. Scabieuse
15. Ne m'oubliez pas
Book 4
      16 – 20 5 Tziganyi (Bohémiens)
      Interesting as one of the few occasions when Heller calls upon his Hungarian heritage.
Book 5
21. Rêverie
22. Le cor d'Oberon
23. Elfes 1
24. Elfes 2
25. Elfes 3

[Cato]

So, how many Heller CD's do you own?

Amazon shows a handful available, at least used.

[Ten thumbs]

So, how many Heller CD's do you own?

Amazon shows a handful available, at least used.

Easy to calculate - I have three.
Perhaps if today's pianists weren't such stick in the muds?
However, I have about 4.5 inches of sheet music on my shelf and I haven't begun on his early works.
I may go for that recording of his second sonata soon.

[Ten thumbs]

Op.139 3 Studies (c 1874)

These do not have the nature of technical studies on the Chopin model but are more accurately musical studies. The first alternates a memorable pulsing theme with delicate arpeggio figures in sixths and contrasting harmonies. The second also has a nice theme but is most interesting for the use it makes of the whole tone scale in its short midsection. The last study involves offbeat motifs but unfortunately the only score available is incomplete, so I'll refrain from comment for now.

[Ten thumbs]

It is fitting to resume with one of Heller's masterpieces.

Op.140 Voyage autour de ma chamber

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.
1 – begins boldly and becomes more so before the first discovery is announced by ghostly reverberations in the bass. A tortuous and fiery section follows before the opening material returns, a little off key at first. The reverberations return to haunt the traveller to the close.
2 – the journey continues in an explorative manner in which one must distinguish between both slentando, ritardando and ritenuto, and stretto and stringendo. The general directive espressivo includes risoluto vivace, agitato and appassionato before reaching a tumultuous passage (molto vivo). The opening returns only to lead directly to strange flutterings and a final sigh.
3 – this opens urgently with offbeat motifs set against an insistent staccato bass. This pounds on before quieting to a pause. A vision then opens up – a beautiful derived melody over an open accompaniment. The whole is then repeated, the melody being placed a fourth higher. A third iteration is cut short and ends emphatically in the minor.
4 – a chromatic melody meanders over Tristan chords before resolving into rich harmonies. Heller continues to experiment with this until the chromatic line is raised higher over more conventional harmonies, which strangely sound even more remote.
5 - a homecoming (or shall we say a return to the doorway) but not without some little excursions into distant keys. The closing pages are by no means as straightforward as they may seem.

[Madiel]

Picked up Jan Vermeulen's recordings of opuses 45, 46 and 47 last week. Only listened to opus 45 so far, but it confirms everything I remember from my encounters with Heller's studies.  Quality little pieces that sound like genuine music, not dry-as-dust exercises.

A question though: I've noticed that the discs have no descriptive titles for the studies, and on IMSLP there is one edition that has tempo markings and one that has the descriptive titles.  So Op.45/1 is either 'Allegretto' or 'The Brook' depending on who you ask.  Do we have any idea whether Heller went in for poetic titles, or are they purely a publisher's invention?

[Ten thumbs]

Picked up Jan Vermeulen's recordings of opuses 45, 46 and 47 last week. Only listened to opus 45 so far, but it confirms everything I remember from my encounters with Heller's studies.  Quality little pieces that sound like genuine music, not dry-as-dust exercises.

A question though: I've noticed that the discs have no descriptive titles for the studies, and on IMSLP there is one edition that has tempo markings and one that has the descriptive titles.  So Op.45/1 is either 'Allegretto' or 'The Brook' depending on who you ask.  Do we have any idea whether Heller went in for poetic titles, or are they purely a publisher's invention?

My edition has no titles (Universal). I think this is the original conception and I suspect that the titles were requested by the Publishers in Paris. My only problem is that if one is referred to by title, I don't know immediately which one it is! Descriptive titles are unusual but not unknown in Heller's other works.

PS I have more to do but I'm a little tied up at the moment.

[Roodkop]

Hi,

Do You have any information about Heller's Op.105. "Three song without words" . Date, Edition Date, Who was the mysterious "Mistress Margaret Stern"


thx

[Ten thumbs]

Hi,

Do You have any information about Heller's Op.105. "Three song without words" . Date, Edition Date, Who was the mysterious "Mistress Margaret Stern"


thx

Thanks for the enquiry. Heller's dedications could be a study in themselves but one would need more than the internet, on which I've drawn a blank on Margaret Stern. As I noted above, I was a little disappointed by Opus 105. However, the songs without words Opus 120, constitute an integrated cycle that I play quite regularly - easily a match for late Brahms.

[Roodkop]

Thank You for your answer!
An other question, do you know any list of her works date of birth?

Roodkop

[Ten thumbs]

Thank You for your answer!
An other question, do you know any list of her works date of birth?

Roodkop

Can you clarify?
Heller was born in 1813.
There is a complete list of works on Wikipedia but it doesn't give dates of publication. There used to be a Hungarian site that did but it seems to have disappeared. The Op.103 Nocturne (dedicated incidentally to Desiree Halle) was published around 1862 and Op.120 in 1877, which suggests a fall off in production during those years.

[Roodkop]

Hi,

I would like t know, when wrote  He the Op.105 "Lieder ohne worte".
I think It was 1863.
On the cover page of the score there are three Edition houses. The Cramer, Beale and Wood used this name. between 1862-1864 (http://en.wikipedia.org/wiki/Cramer_%26_Co.). The J. Maho worked between 1881-1877. (http://imslp.org/wiki/Jacques_Maho) The J. Rieter-Biedermann used the Leipzig u. Winterthur address between 1862-1884. (http://imslp.org/wiki/J._Rieter-Biedermann). The plate number of this work is 260. Biedermann used the plate number between 253-277 in the year 1863.

But it's my oppinion!
Do you know anything else of this work? (Op.105)

B.R.
R.

[Ten thumbs]

Luckily for all pianists, there is still more (everything takes time!):


Op.141 4 Barcarollen
This set forms an interesting precursor to the barcarolles of Fauré.
1. Con moto 9/16. The gently rocking subject invokes the boat on the waters. This passes through a partially chromatic development before returning and melting into a coda in which the mood switches from minor to major.
2. Moderato 9/8. This atmospheric piece conjures up a night scene on the canals with gondoliers calling out to each other and giving occasional bursts of song.
3. Lento, con espressione 6/8. A more conventional barcarolle employing the lowest parts of the piano. The offbeat melody begins there, the reply coming from the treble.
4. Lentamente 6/8. A very sorrowful couplet is sung in thirds followed by a guitar improvisation. The second couplet is varied and the improvisation more elaborate and chromatic leading eventually into an orgy of G major configuration.