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~4,Rornarlli ~Elu,desl(1 Pian- by tepnen Heller S(~l(:,cl{'~dnd Ilmronlu'ed ~}) MalJTr'io, I;-:linson a

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~14 ROnl<1n1 ic F1.l ides for the PLano by' Stephen Heller Se]ected nnd In~roducf:cI by f\'~atu~ce inson H

Val1f:'y f()r~e .. f'nf sylvania Urui.rersal'EdlUon Vlenrm J U llol'ersalEd'llio'n london

universal Ed~t['Orl

Stephen Heller Biography .,.,.,'" ".,.,.,., ".,.".,.'".,. ".,,''',.,.""''',.,., .."'''',., ... ,,.,".'.'.".'."'.'.'.'.' ".. 4 Introductions by Maurice Hinson "_." ,._"" _ ,.,_.,.•.... , , ,_,' ..~ .."'"~"' ".",." --.5

Part ~: Eady to M]d-[,n:termedrate


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Etudes lir;[et:l from e~~lE!st (teor;;hniC<Jftymiif'll(H'Pre'h1It~e\'Y) ~o rn~st ~TfflCl!It ~

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57

Stephen Heller
Stepl1efl l teuer was born In Budapest. I iungiilr)' Or! May 15 1813 and d,led lin Paris, Franoe on J~nlJ~ry 14. 188B, HBl studl-eCl il'l Vienna \li.ilth Carl GZ€lrny and)\ ton Halm who Introduced II reller to BeBlhoven and S"(;tILII;H~d ~n 1 B~f.! Hs lie I bei9 a 1"1I concert tou r of Austda, PQlalRd andi.German II blJ t M.ad to give It up be-cau se f of exhausuon He s.loppe·(j In Augsburg and remained Iheo;! feu eight y~;q.r$(1830·38~. DurJng ttlJ!> tim~ Heller ;5tu died com POSition with H rppol y te C l1elOl! a F reI"!en fTlU SH:;:Ian Lher! Ili\li ng i rI Aug sbu rg Irl 1~ Sf! H all M l1eg11l n rd his ~ongcorrespondence with Robert SttJumafH'l wM,aSSI'ste.d Hoene{ In Ind'ing hiS first publisher Sc·I·II.!mal1r1 a Iw'a'l.s cl ram pion M H B,llerand i I' 1836 ng,aged Heller' 0 b ecorn e H rEg ular \:OPl tribu to r to Sch urna I1f1'S jaw rn Ell, A,lthough Heller ~md Schumann never met a specIal elations,hip C's\lBloped b,etw ,en til m through their correspondence, arid Heller .always IhotJght 0 SchlJmO!mnas tliS spirited brother. Heller's pseudonym "Jsanqurjt" (Jean wrth humor) 8how~d his grecal ar lirat:ol1 for Jean Paul (J P F. Rict1ter), . In 1838 Heller moved to f-' ans wh ere he beca me f. Buds a f Berl iOZ:,t::; tlOpl n, ,1:1 rId Lis!. t He we s very su cce s sful as a pia n i st a nd sam e cnbcs felt tJQ was el.,le nsupenor lo Chop I n, Heller beg a n to co rnpcse pi a n Q pieces somewhat related to Sc humimnJ s c.nan::u;:ter.p[ec es, dances 13 nd stu d les Th ese p:lan 0' works ceca me

very pop utar


J n 1849 alid i 862 Heller vjslledl London ~jln gr'e\flt success A nervous cond~tlonfinally forced him to retire from pLlblLC perfoi manes Haremaioed in Paris the est or his Ins_ He ller com posed n urnerou s 9 rOIJ ps( 158 01' LIS Iiurnb srs l con sisti 19 of s€!v·ers r Iw ndred piano pieces, His piano etudes, that dealtwitli various. technk;al problems, "",reremstrurnental In establishing his reputation as a composer These pieces Sill others dearly shO".ii !hat Hel[er was supern.a rnotlvic transrormation and metrical ambigUity, H; E, Krehblehl cescriees the esse!J'l"'al cni:mEi,c[er of HeUers etudes and wily th'Ely are suecessfu I with stu d ants - His studie~ are jess for ,t gers tha n 'iQr tne nea rt all (j mdn d_They 1n ell [Gate III usia in its ethereal e~sem:6 raiher H18r1 11.$ meChanrC?1 fll:aj1iie~ta~'on:s_~' Alth Q,ugt! th e main objective [ilf Heller' s ~'t:ud:~5 is 'to cuJtjv~[,e musics I taste and expression in the .student, he also achleves specific gca_ls of PI(,'lI"lI$tIC de~Jopm~nl {hand sne arm ~ligl1Fnent~ 'mu'$cular coo I'di nation. an d other facets of 'manual skills, In tire ingemous man ner In whi en the .studies a r8 written ~ HJ@ He#8..J ColI~cUon presents a selecllon 0" 34 pianoeludes ttrat are bea.l.ltlruliy con stru cted, refresh iI)g a nd rewa rd in 9 to play. With rnu en V31l.ety Ul the p e SI] na,lily 0 r thesE; pieces The pieces are 9 rad ed~ in onJe,1 of diffir:t,.lIlly, beginning with Part I \.I'(,;hich contains, eas-er se,fectronsthat are appropnate far early to midIl1terme.d!ate students. Part II is fo the late..tntit!f sd'~lte . ~I Of hoE! wotks tn thIs colledton would make an exciting and colorfUlI addition to a recital, Th'ey alsc pro1ide eXG.~nE!rI't sight-reading materi~1 For the more adva I1rceel pian lsl The sources for this collection Indude the rollovdng publica-Holls by Heller nven ty Fille Etudes; Op I'f5 Umversal :Edit!t:m 5920 . ThMy Eludes, 0.0 45 Un'"".eifsaIE¢Ji 'fon 5'92'1 rwel'l~Y Five Elud~g. Op 41 lJrlh1e'r:sal Edit~an 5922 Tw~mry Four Et(Jdesfor the y[Jun~ Op '2'5 U rllvepji.al Editio n 1695

'Henry E KTelibiel The PlilnofOJ1e illl1r1ll$ ,~of.Ilr;:,t: N!!III on <Ronald t I'lcotho Jr "Tho Lif anti MU51~01 SL'el'he Hel~

Cnal1il&

Sell'.:mElV·S :5!l1fl:9,

'lpvl'Jhsh~

HIll, p. 2~4, d,:!;$~fta'!foll. Un' 'ers~tyof I(I'W;I 19GB

Introductionsby Maurice Hillson


Pa rt I~ Ea rly to M.id- ~ nterrnediate 1. Allegro vivace, Up. ~25~ No.3
Thrs little" So Idu:.~r'.f;i. rd1" h a 5 rm...!ell to recc rnmene It· a st LIdV' Ma d~voted to duplGlts and triplets, d.et:i$ive rl4,ythms, m~lody tranMer belwee n lh@ h a 11&, etc, Be 8Uft'! lne siXleel11h !1otes, iln meSisUlms 1, 5, 11, 21, 25, 39 i'il'nd·43 are played as si:xt~entl"fs, not lil~e 1he,lhird part of a Iripl,et To p~ay Ihem hk~ m~Lil i rd P,1!! 01 a lriplel Will be ;a tem !"lWUQof1eeceu 5'~ of ,~II the d triplet LJ~ag'e in the piece. PI~y tl)C leftl"lOlllnd C 11'1 e~s!.Jw H) m '~,~rong~rI1i51r', I'he r~g ha no c hard to sn DW Ihe and or Ih~ le,n t ht btl no rn~1 odic Iina 0 eserve c~re"ully U,e accents In mfa'sure'fi

me p€da ll s he ~~ through measures 31 ~34 {th roug~ltihe first b 6:S t} fQf[,owed 'by four staecato (OJ lfGl rters with (:) t pe:da,l, then u two,staeeate quarters each pedaled, Measures 34-36 sh'otJld be tl':!,e qu iBtast Piilrl 0 f U16 piece
l

3" Allegretto con mote, Op,


Leve I

4'7, NO.3

OUicl!l·d"l8lI1g,ing touches (slacc;;ltQ then JflgEl'lO) plus -cl€lver use of accents sdd m UGh interest to thi:s still dy , Notice ttl e

accents rn the I'eft h 13no at rreasu res 12 an d 44 are stro hge r t 11"l!r1l tt:lose 1 the rig ht hand AJI 0 Urnsasu res 15-1 e· I'll re (he rJ
:slron9€'st<ilcG~nls to th:;lt pomt ,(nuf,), let each crescendo 11"1 measure 5 27 "30 Q et str-o nger so. you carl a~rive a't 01lbrimf.ll1t r~~nforl'tmrlrJ measures so..32 Observe lhlil long psdal at in m~aSUTe:s 39 -47_ tIN;effe.c:t prQV!rj'e::sa ~cllltlllatln'!;J sonority, f~f'~~I.Ii'ies47 <4 8 5noLj Id be d.ry, w~tl' ou t ped 91, ver; $oft and \\'Ii !ha u t fila I'd

15-H3: th~ cre~c:~ndo m m@ooureSi17·19 arrives at measure 2;0, witn tll~ lef1 h~l1d 0 $liO'1gl'ilr l.h~n 1hf:l right hand chord MEi~$lllfe~ :U ~38 p resent t he mel 0 ely transfer red b~twe~n hands: 1-E D IJ C S B A G~sli.a.rpG·sharp. The second ~Ind ~h parts nr·the liflpl€!ts in measures 27-.29, 31 ~33 an rj 315-31 Ird are accompan i rnerrt an d sJ,oul d. be plays-a qUieter than tMfirSl
note of

4. Assai. rnnderato, Op. 46, No" 22


PlaYlh~ smal~note (~[;cla';::Gatura) In me~~u~s. 5,9, '13, 17~'1S. 25 and 26 s lightl y b erforerthe bsa [ KEiSP th lSI mli5llody (10p line) voice d $tr'Onr;1,erttl a n the rest of thi€' Chor,d~. In mi?aSl! res 2 4 and g,mlJa.r places, ~n measure 13, the haft hijmd p..rt ~mij:at€-s the ngh I h 1ti no pa:rt (a fifth Ilower) rrorn me@iHlre17 A d uet belw,eeD"! rhe!opand lowe r voices ceg 111.$ I r1 rnaasu re 1fl-till i s eonf rures ~nmeiiSUres 19-20 TI1i s proced ure is re pe~ted ill msasur e.g 25-28 Be SI,J rEI S ed obse rve theaceen ted en 0 rds . ottJeat 2. [f'i measure's 7,2'3 and 3.1..

1M tnplst., Willen Is the melody

Be ~lm~ I~(,j:Irlplals SIf:lrJ

r1upl~ls are played e;.;aclly in lime Anhre at a strong ffa:t measure 39 and droOpback to f (rnessure 41.) and p(tneaSUfB 43}, The loude:1it pari. of mea i:;i:J res 51 ~S~sh 0 u1c1 betlie IT C ['$~ in [mas ~rE!54 e ff in measure 5"{ 5 nOlild eomeas a b,ig 15U rprlse to the a udienee , Be su re ano :g tva fuJi ti me- vah..J'B to th e r€st~.n measure 58-. Hpld ti,e mood throwgoh Ihis final mBaSUflEl

-n,

5.. Adagio, (lp., q 7, No. I5


This bea utifu I p ieee is rem i n isee [It of the tirst movement of 8ee!110i\,i'~I"I'$ &Mcro~l.ight Sonata.," Op .. 27' NO.2, Adagio tells us tnl's. pieceis [0 be play~d "atease" ~:lIi'dU'le rnetronorne mark
Indica~i!!5 '3 fairly :S['(lwbE!mpo The rlg1Il t h..:mrj tnplet accornpa;

and keep til e handel close to! he keys.1Jlllll!he

p~ece hase !Idea

2,

Allegro, Op, 12S~ No .. ]

The Twenty Four Etudes .for the Young, Gp. 125 were cernposed to help you n 9 pi a nists dave lop fat;~lity' m expressKwl and myth m. Hell e r's mtrod uctory words. 1:0Opu s 125 are: -The purpos,€ Ofthies8 Ilew eludes i!$ID bririgln.e YOUtlQ sspi ring musi ora tts closer to tmJ sit: of 'Our time and to G~nve'yas sun ply and ea:Slly Ol!:SPCi~:s.1 the p,ien:iMic ble
I

,and

rI!ment (measure;; '1-8)sh:QuJd be as lrei:laro as YOJl can play it OM aynarnic le,ve,1 :sotte.r mat the left hand melody

t~ctm~qtJe,hsrrnony, rhytlnn 'arid expressive ~fH:i(e.C~El( of Mendelssohn, s'.chlJmtinn, myseff, ano qthers. All music i~ diffi·c.u~t. 'including thc~ so-calledB'~iy "\ilrotrk{O. One must do eve ryth ing po ssTble 1:0 h~Ipjhe Muden[, because rnus lc is enerrno us'ly camp Iic~ted, d€'SF'dW the wcncerfu I syste rns Dfi Ilrstrudion pr.esenlly i r; ex"istence wh lch pe rm it on ~ya fortLl natB few to gam ;;I.cceS$ to' h'e:r (mL!SIt;"S} secrets." Ope 125, No.1 rBquirp.s Cf,lreflJI GOurlting and a steady .tempo M€l"dSU fMl-2 Illeluc!a Eli staocato qua rter note. a qu ~ r'ter res:~ 03h a~f note ti~" to. a qu arm r, fplf;owed by~hleie staccato

Rf!l!';I~[se th a dyn<3,rnrG levels whe 11 the rig ht han d has -the, meto.dy (measure 9, beat 3forw,jud ttlrough measure "1,2),The .. fe:fl hand takas 'Over t.he melndy aga i t'l ill measure 13 A beet 3~ iOl\'\r,a~d thrc,ugil measure 251- From mBaSLlr"6.26 to the end IriS right hand Im's;tt-fe melOdy, .111 measures 1,5, 9, 13. ~5, '17~fS,21. 23~27 sure lhee[ghth note pJayed Rg<3Jnsttl1e triplel b~ itliis ,e}l.6ct~y[w.tJ;o;il;!'en the secon d and th ird pa.$ of the tlrip let

Heller uses tne terms espre}fisivo an d. rm:Ato· fisp.re.'islVO ·,to rrmjcS~e rnecc and a cert~ff1 amount.of rhythm~(,I. fl!~xibj~tty, These arerQltowed b,y "a tempo" at measure 28 to tM end, Talke;emHJgh Limeatmea.sure 17 to insure the len hand rrJoiill0dy G ..mil b~ hE!~lrd.above th e rjgtrl hand G. (sa me rlIote) ;.;Iccomp,;t

mme nt. Th i;s pLoce 15 0 ('Us'of the most b.ea u.tifu I and .effe'Q~ive in :!'lI1I01 HeUer's' pian 0 works.

q lJarte~5. 1];0 not rush ttl rDU 9 h thE! rest and be si ..H e th e half nore tied to the qllJart~f f1 ate g€!tS rls ful! li me va ILie. M~8!SUf~4-a 6.A.II'egreU()) 471, No.1 requ i re Gar-eflllvo~cmgor tM e top me~ody note over thea ceo m- The s!,J b!nUeror Up. 47 15.'For Improv i ng ih e serrse oE rhyth m pa ny'll"Ig trl pl,e:t~. The IBft hand I'rWS t si ng Ihe C~Ho·11a rliBlud 1 and el!lpression· HetlBrs pn:rface ttl,Op 47 ls asrol!ows k in rnoosures , :g~20 and 23~2.4L Measure 29 shouJd iElrrrve .;;I,t,:1· ~,Agre!at rJ u rni;U;l F of st .." d I'~ forlf'lt!~ pianQ already ~l;jst good mfwlth aSLJdden drop back to p In measure 30 Be.~"~.lfe sole'v' InC~ndedtoform the mechaln~smonhe fingers. In

Op.

e;.
writi I1g a 59 ries of sh On' chsracterlstle pieces, I have aimed a L a tOi:iliijy different object ~ Wf,s,!1 to fH;1p both students and amateu rs to performs pveoe with the exp resslo n, grace, eleg a nco, are!nerg yreq l:.iired by Ihe :5 pacia I cha ractter of WH~jctJrnposilf(m M(W!!!i P'1!Irtk;u[liiirly r have tried to o:lwakeni n I:hem afeelmg fo,r M usital R.lwthmand fJI desire f,or tha rnosl and comp1ele inter~ pretatl"Qnpf thL'l! author's intentions. In orch!:rlhat my obj€ct maybe better aUa Ined, ~ask ~e3ctJ ers liO ~'I"ISlm~ U,,~t lhe,ir students perform c:arefu'llylllB foollowhlg snrdies wlths II the nuances. dela lis. and cn.;;tI:tlctl:! r; re!almg
toeaeh of tl'llem." r9t1iur6l&

whkh m~iod}'

makes the mejody appea '" measure 1:3·sounds

rOI1

me fi rst and tast sixtee nth


sCi the

no~e$- in eect1 group

of lrigh~ n.(ilnd fOLir sixteentns;

Iikce D DeC B 6 stc _ The Q!penfngs:ecUori return's to end this cant-abile {Singjng} 5~1~ pi:e!(>6i Heller'ssole object was to perpetuate beauty and he S'.! ooeedsadmrra'bty n'e re.

9.. Assai vivace, Op. 47,. No. ,8


Both han cis ha\fi!3 trowl no me led les, so til ls ~llJdy is a duet i,n
cou Iilterpoul t (me ['Cldy ag-~ Inst metody}, Esc; h me Iqdy 'goe-s its own unfque df rectlc n iI nd therwo is! ~ q U1M dis tl I1ct- rig ht han d \1'Il'~th Il:Sco.fltmuO~I!:I el9hUI~ ;311dl'E!fill'8ir~d w~tt1 !tSquiiilrl.ar.'§, t"!~lr and do~red half notes. P racL!c;~ hSi nds sepa rate Iy~ 110;;1 use legato IOUC'1 With boU, Th fa dyna rn lc !'-;;mge Is narrow: p P~U!\ a few na1rpm ,r;[,r'ffiscef1.c10$an1d d6'Cr~BC~fldos M~ke su rs meMIJI-1~'$ 45·46 sOlllnd r;orrlim.lol!s and r!CJit liKe me ngl1t 1l2!!"!;O pla~s, rne,a,$tJ re4!J. OllilH'i t he ~efl har! d I~ys rnsa surs 46, Nn1:io@.

This etude

two-note slurs in tha 191thand ~hal support a rig ht h~nd 9 roup!ng of two rsrn f10tes wilt'1 t~e second 16rn I~ed to an eigh1~' fo,1I W€d' by I'w'O 16'~hs,n1>L~ right 'I1~lI1d 16th~ a ev.olv~ in lQ a cseen z a al i ke Pal $sSllle in rneasu res 16-19 Mea:su r~~ 2().:!4 prov ide a short b ndg el that leadsl;aack; to the op~nill!gida21. A cascade ofsc:a~es in octiillVIP.S:and tel1lhs leolll,ds to t~lerlnal cadence Follow 11'19varitlid dynamic plan c::amfuHy f!.~ It M d:3" muc h UTte rest, PBdal SMU Id be us€-d ,ord~ If'i IWJ~~I.I'feS,21-24 anti 34·35
J

'~he- ccent rs on beilH!3 a ~7 ioSr;olas~ttClllgDo.

II, n

Hi)<I~~1re

45,

SCi

riot use pedal ill mrs

bea l 1 i r~rnea sure pi~G.R.

Th~s lexceltent study maif1lyFe~lures rnelodyMd9ccompOlnj~ mel'll fn the ng hotha rid. 111if rig hi ha I1d me lad y Is u 5i !jiMI Y th e first. m€~ s LJif1;: 1= quesllcn, msaiS LJn~ a nswe r ,etc. It a ~!ii,0'req ~Jf€ s :2.:; S,E)fl~anth in thearoup of fDLJr sh:teerrthl;i, therefore the m~19dy oaH~flJ~on nUn 9 .M tha I. sixteent.i'ls, elg I, Ihs, q;uar~8r8 halves c 1,11 til ef rstooo measo res (plll;l 0 ne bea t) is C B ABC BAB and mplet·elgntl1 ilotesare exal'::t1ycorrect. vanous touches C So rneumes It Islhe 'fi rsta nd 'fourtli of th e slxhlle I1thg rou p, (ler,]f)(D, ~(8CGato, portato) are u~ed p.ff!E!cti\i~jy !fl pnirrllJr the ;;l~jnmeasul'e:l be~l4 DC: measure 7', beat4: DCn~"€lleft muslCal character of the piece Notice how the dyna.macs are nail1d. ~aj{es Olver the melody In meesures (4th beat) and a1111051 stanf y changilii ~r mak~.the most Qut.ahhe "r~ con ajtp~r( ee ntinu es unW beat 40f maasu rEi 12 wn,e re tllc right nand ~re$c:em16$Follo.w H\"lUerls meiTOl"Iome marking s(llh~t thE:! ma!M\! f,eSumes. Ttl 9 Left h,:;md takes over again at messure tri.r;ilets i n rneasu res 1 (Jo iil nd t\ 0 ~ re. llo~.lpO sl The meto~ly 20 (4th teat), the right hand resurneeat measure 27 and fa beglns.in the left nand in measure t2and cOntinues In Ihe nght flrliLs-hes,jl'1 measure 30. Heller s~ii3te'5isempre legatt2 led 1181rlfd!ri6f.1SlJ 13, beat 2. re The same pal IBm eccurs 1fl eqo~f,mMfB (o always ItiO !'In€.(ll€d a rid eq wat) If th i8 direction i So measures 14-1b and o12At1 Pedal instructions arBd~r and cJlre1ul'ly'ollowed, the me lo.::f¥rn the right hand will ta ke C1ill re detailed, oi i~sel'~.MtlfCato (rnarked, brought out} at measure 8 indicates th~ I $ft ha!1ld m~lody L'ito:be;l mphasized_ FoUo""... e . thecomposer's w,ref1.J111y r;mta b~d p,ed-al di rectio ns rlhi~ expressive study uses question and ~n:swe:[ toohn!que
l

7. ~/\ndal:lLi.rm con mote, OIl'. 47, No.4

1.0. A llcgretto,

Op_ 45. N 0- .1

T~ 15 ls S U re1Y'Dne ofthe
~II the

s.

Andantino, Qp:. 125," No.4

most baa lJiiflJl pte;Ges· in -8111 of opus .~ 25

n i n eteehth c~ntL.lry, Andantino meant a tempo, a little fasts 'lh.,~ Andf1ntf) Hi e dolcs' fegEi.to {gently a~d GOFllle;cteill} mdicstioll in measure [underscores the genlRyrr;.oking cha(;,. acterofthe' pH~oe,Perholp.s ag e nt!y roc:kfng~bQ;;1it. tS5'lkQl~ ecs,tSd b.y this opsnl ng 'drOll bl€nj,otted eig IlthandthIr:ty-se!c,O nd note Tn iswriter cO.uId ea~it;y subtitle th ISpiE!ce "Pa r1'SfanBoat Scm g-: Th*·tl1irty~sa.Gtmd !lote in thFS opening {measures f-B,:and

TI, TS ;pi~,ee rs based ern the contrasting touches of leg a to and st9coa·f1)- inm~,:l'5Ufe.s 1.~6, €;.6tH1sbhetop D is h€Hd~or 3 beats b p.erme81slJII'e ~Nhj~e the elght:h-rlotes are p~ayed staccato, The Ie:rt h;; t"Id has .8. Shi(fll:a:f~itl.lalhiHl in measl.lI\'eS 9~1)5, Both ha I'la s getml5 treatme nt-at mea 5l.1 res 17-22_ The treatment b€Gomes mQre ir,vohledat ffle:a.Sil)feS 25-30 wMr.e sustained top note.s, c.losing'.('mes.sl,.l.r~s 211-27) mlJ:st not be thumped, [).~!t:shQUI(jl00 50und \,:\,I'h~l~ the IOl;!'.r<er voices involv,@ fitg-alri ~nd porflltQ ratn,€r q.uieter th an the first part aTtne t~gur,e tthe (lOll b'e OQv.oo s.iu rring (b eais .2 an d J). I fi! rneasu r~ -;. 3 '1 ;;Ind 39 ~ Heli!~'r e~g hth} si nee til e th i rty ~second note is part oflhi& accompaniindic.-a:t'fls bl,:,o PGssibl'eFlII~e ri 119 try !both an d use thie··oli1e··tih t $: a ment Tt-l B melody of measures· 1-4 is ABC C B 8 A G 6 liits your fi nger$ best fh 6 d Yr'18 mk rang e i~ restricted top an d A t\; this is afsoacco mps_rdedl by ttl e' ng bt h21nd O'PBIII fifil". a few !1i:11lrpm{ ...0;::::::::' _ :~ _,._ ) III d I~bons_ Contrast me~sLHe jrrlp'<lISlJ re 2} a nd octave ~D (m~as ure 4), Tn i s ooa,utiful ope~ing 7~8 (r:resce11do-.Gi',~orescendo) wfth measu~re,s 15 16, (no section (rne~8ure8 1~B) ~s like an lntrodl,.lct1oll ~nd $ief'J.1eS3S·a Gf'l3iS'mMrdu· d~Cr&fiGi&~);tJO). Sen;~a ped indicates without ciosing (measure$ 2;'1 ~28). Measures 9-12 continues ·,th~ pedl;al melody in lhe ten Ci r voice while the bass a!"it! SlOop ra no votoes, p!rov~d B- :ac:~ompanlm~ n1 B@:sure the s~:(leen,U~f1 otes in bath

11. Allegretto seherzando, Gp. 46~No, 2

e:

hands are eqlHllL

Me,ssu're5

'1:J..20 present a

newliguratlon

12, Allegretto pOGo agitate, Op, 4,7. No ..5


T" is "Sh adow Dance" 'study feature,s a Ihama~ion of handsi n si m i lar tOUGh es {staGG.alo, measu re 141, 1O~14 ,BO<34 , and 41,J46) and co l''IItrastl11g touches (staccJ rbl--/ogato meas ures 5-6, 16~18. 2,6-30 iii nd 35~36' M eaSL.1 res 22~26 IBatu I'e 1.egarf')'i n both h'af1dos..Both hands have ago at~he m.eloo yol!l d~ffen~nt places. Keep the tern pc ve ry s~ead:yall lliieway ~o 't he end, PerrJenrio.s:f (n"leasure 42) refers to dyna,mics.(l!ll~ and so no ritard st'10uld Ib~ afkJwed A light [owen is calledrtn Hi rrl~~t or tV'le plf,;:'ce, No pedal should be usee uniesase Irndlcste'Ci
111 .. N' ._ ~ All .'. "vlvace~.0 p. j~5 ~o . .., ~.cgro "'I.

15. Moderato, Op. 47, No. tc


Thlsrines111dy prev ides Bx,ce llent apPQrtL..Jn~ty fo rthe rig ht 11 and to' pla~ barth me~ody and aCGomp;;;miment (measures 1-,g, 11~· 2442-45~ as well as tor the left hand to have U,e me~ody (nleasu!'e,s 2;6~37 arid 46) IBe sure 16ths are played exactly correct, not rtkc' the third part of atriptst, No~ice how the '16lh notes in rneasu res 11 3, 5-6 turn in to 8th notes when the ~ett 11andhasth~s mel,ody rn measures 20,28 and 31-32. Take a hUliljrTIOre bme w~~hmeesurss 15' (dot('"6)~1a, back in tempoat

rhi~ i 5 til !l'!Fam 0 liS shJdy know n in m~ I'll! eo ill iJIl8 a~ "T f1e !\v ~,Ianch e." M~ kel the ~ine as srneem rry conneetec a i posiS'Tb Ie w 11s it l,ram"fers b€l1weM ttl e h~mos ,as in 'rne(il~ LI re ~ i.3, 5. II 7. ~'.' ~,~k., More €lmpha:ii!~ !lihQlJlldbe 5hiJ'tedilo 1:.Ii~ left hill'nd ~CC~lltoo h~lf notes .111measures 2. 41 6, 19,.etc, tha,['I the following right hand chords. Take a liUlili more time ~jJr.lromen,(') ffUJSSO) ill measures 13·it; oJInd29-32. A diuel eneclb-eto'M'~HiHl t~e ~,aSS2!f1dUle top 'Voice s!1ouJdb~' neatrtj In measures 34· :I6 ,38-40, 50-5,2;a nd 5'~~56 A!:II$U re <'lI, \I e ry sligh! bre SIk l n Ihe SClUncj OCiC~JrS if'! mea S\.ie 64 betwee n beats 1 and 2. li!lind r s i m lIarly In mea s Lire 6.8: til ls pair! ts u p tt1~ en d of 'M''!€! p hraSi~_ Pd3.oJut-o (IYI®~sur("l73) means rlso'lute,~rm {s!.l1iady). so no

m eaeures 19 -2"5. Ibe leJ,proStSlVG Ind~c~tlon far the left hand a~maasu roe25 also s ug g~sts tli i s section (th rO!.Jg h meals um 37) "light be' slightly rF.lIC1i~ed tarms (l,r tempo, Sick ln lampc in ~Itrneas ure ,38. Make the me 5 t of til e l on beElt.:3of mea 5 ure ,Uand mtilir1l t''lIEi! frhro,ugl1 the hig D minor chord in measure 46 P racnoe msasu (1~S 1 a <11r1 ~ 25'!>e par.1.':!tely ~o make;.- su re thl8 fll1germgs iii re secu re,

raoceffl7r:;mdo $ho~lld begin here, Afl.er measure 82 drop bac!;: ely n-a:micaIly a net SlJiQ d e Illy to ~he pin measu rc 83 P8:rt ap-s ,81 IrHl1;lfJC(~Il~rando !"nigh! bE'l.j1e-ard at me8!3ur,eS M-.gg lBe sura
1

the Cho rd ill rneasu re 87 and I.he low octave A ~nmeasure Sf! ~re sL:lddel1~YqUiet alter the- sf In measure 8:5, Do yOI,J think "The }wala nehe' is a goad titleror ttus piece? I f not whai IrHe WCI uiC!iy,GIJ slJgg e~;:t? Why?

III lil'')il'<ilsures: i.:2 dnd 3-4 5-6 and 7 €lte ~ staoc-ato follow~(I by legato Measun?l:l\'i 9~1' ~nd 13,"15 add sli;;::teentl1 and (W-Slr'ter I'! 0 tes to the rhy tlh rniou ndin measu re 1~2 and 5-6. N once U1!~' ViW'J marking at measure 17 fdJowe,d by two and one-quarter r'n~asur~s of censts flit aig t, ~~1:S Mess u:re ? i ~24 in trod UCBS E1 pron o'unc.ed lefth and me~ody wl!! le til e rig ht ha nd accornparurnent LlS'®::S the sa me pat!:em I,ClUM in measu res 1-2, Mea.sun~s 15-30 uses ccnstsnt left hand eighthswhlle U,e righU,and has ne iN petterns.ot eugh th 5 P Ius 'rests. Measu res :3 0<33 form a
1

J 6.. '[In POC~) vi vo, Or. ~ 25, r'\Io. .5 nu~ plea! tll..nid:s Or! figur€!s used ~nnos. 3 OiIfld tl duplel's conlrasted Wlth tr~ple'rG,melOd V i 11 ~he left ht!:!id! acco mpan I~ r 111'li!!nt i.llne r,ght har1o, dQlIb~e dOll,ed eig!'~h$and tl'lirlY~M,ond n CI tes and con trasreci dyru'!rfllcs Con tra~t 111o IJcl1es ls 'found t

s!'lla[1Ibrjdgl:

]4. Mcderato.Op. 125. no. 2


Thts piece is writtt;l11 i!HlI cl~ar A8A d€),sij~Jn {A""meaSWEl:s '~20.

r..iif~flJ Hy til,s nlJ PlI'I erous te rnpo cha ng as used th rougho lit tf,e prece, The e5pre~sil;lo mawking at measu re 34 means a IiUtle rut]ato snoutwl be usM in thisM:l31 secti.orl, NoHce the arpeggio

'0 ~h'efMa I secnon,

measure-s 34-41,

Observe

B"'21-36; A~~ 7-56}, The .A section s fccu ses on expre 551ve rs.gato chords mat use Interesting dynamics" vJhil:e the B E.Hl.iC~k:rf'! res scala r passag es p~J u~~Efcl win'! mE!lody :1i1.... ~ ci featu net chordel accom pan i rnent Be sure til e dyns:mIc 1'1 IS weH Sin contraste-d (p to. f 1:1 nd back) un m~aSLJ res 1~2:0 a.~d 3:1'-55. ~t WQu~d more ~nte resH~g for th~ audir.:n C~ 1fth e ph;a.n1st wau IL Q~ exag ge.rl'llte.lh is C·'(;lIl trast The B sectiQn ;;31:50 depends erFl dynamic contrast for much r ntem-st TIh,e ores;wl"ldos in n1e;8;stJres 21 an d 23 must a rriv@at aboLit 8: r lev@'1 IrOnC!I.'.~@ 0: Immed~ately by the su ddetrl QFOP to' p_ T h'e cre.$'CSndos, In
rileMUfes 25, .27,29,3·1, 3'3.ana 35 arri\t"8 a~the. stro;ngestIEl'ote! il1 the meaBum's irnm@{]fately follt1wing them.. This enb~e B

sig,n ~Q r rne rigN 1~ ~nd i 0 me" sun'S!34 Mea$ures34~41 <l1J~e <3 ~most the' sa me as, rreasu res 21-26 In the p rece,d I n9 piece, Op_t25, No'_ 4_ If N·c'. 4 wa.s Ie-arner;! ca:rBfully. this piece' wm be 8as,y to pe.rfe.c:t

1I, Con mote; scherzando, 01'. 1251 No.7


The ~talij,a!'l[€rrrlS Cor. moroie II !.!Is,·th p tee€' IS to be played with Is rnoho~ {!l1G\J''-3tnent} end F;che(zan(}o, pls'j'fully. The character IS very 1I p. be;at and c:ihee~rfu Be -sure the ped~1 i$ released L e.x:ar:Hy w rler,e indicated in .mea5JU res 1-3, a no 5'-7 ·so the t;;~~~ lo eig nth s fo tlowsdl by eighttl rests ~n h'el.p s.u9ge.stth rs; ctleerlul mou:d. BregInning in me-as u re 9 androUoWi rig·. Heller '.!;I'ritHS a ma10 dft: If nE! beg rnn i rlgi n the ~eft hand i mmed.iate Iy ronU'flIJe,d by the ri.ghthan d Th~~. tr~ Il'8fer of U'le rTiI~log Hne ie oe t:;:veen tl1e haMlds must 'be completely smqothi wltih no brea k in S'O LInd wh,en the me,tady rrmVe'$ from 0 rle nail d to the other, Poirrt o!.Jt the G~$cefldo i n mf!~~H.rFe8 13~14 that arrives at a r In measures 15-16, Eac~ sf Tn meas:ures 2.3-.26 is gmduarly mo Fe the n flhe last one. If1 these sa me mess lIr€lS be -Slife to le-an U1~ ho.oy tattle I"rgrrt as ttl E!' mu 51C ehm bs lriltothe up per P:;;Irt oftJ!'le keyooard Remem.blllr~ kre€p m€as!.ll'e& 3~-3:3 {b~\at"S 1.2~ r rQIIOWed by <iI. S LIddell drop to p 011boot 3' of meesu re 33.
I

sectlrQ 15'a gradual blUi Id·up to mea sure .36 whjthsho uld be n
1=lrleMt ff. Notice the notes in P?lJfflntheses in measures 19.0l1nd 55_are the 8am~: !et 1:h'e!'r'ig hand p~ay tn E! m 810th:sJ b~tl:er ht vQir;ing control co;lnbe-exelrted overl:he finall no'lce oftM phras,e, T11~lilll?il octave A in measure 56 :should b:e pp.

8
Ile~ler Ii kes

tJi i s d y narni G con lrast and it I"le~ps,crealer -spJay'FuI' ri9'h~h.and in measures

character throughout the piece. se sure ti1,e pedal is, depressed when staccato chords are playf'A in measures ,4. 8. 18, '20, 22, 34, 36 Sind 46: this adds a 'Spar;;ial' BffeG to th!:]! so LJ nd Th is pi ec.eworks wen in oonjun clla n with No 8, He uer sug,gests playing No.7, then No. 8,and '[her'! repsa1.Jng No 7 It prod uces a c lea r ABA form

2a, 30 and 3L Be sure ancbrinq out me accented notes in measures 15, 2a, '30 and 32 Follow tf1e dynamics exactly as indicated in measures 35-40, and measu ss 39-40 should be quite a surprise. Heller :sug'gests reoeahng No, '~1 ,after this piece. So play No. '11, 'N@. 12, and

~ han No. 11 agai n; th is prod uces an ABA deslg n,

~8.. AIlcgrctto, Op. 125 No. B


1

Part :1: Late ~ ~ ntermed ~ate Level

ThIS charming plieca is a wondarf'lJl study using melodv d'~'CI, accorncanlment In Ihe same hand Haller writes Ihe mere important I1ltol,ody notes il'jll'lQrmal size while the accompanying notes are writt€!I1 smaller The l1owill'lg me-lody in measure 1-4 consists oftwo, dot,t~d half notes fQllowed ,by !vila rl'le·arStJfie~· of a dOI'tCld quarter . .;in e.lghtn arid ,quarl.~r EV~i)llhmg r e~ds t(;i be srnolflly COl'lnac:1 d Add aboul one olher beat t_ ~ e f0(matD In measure ~G. he len and f1E1sthe malody in measures 24-28 wl th the rig ht hand ]OIr'II ngl In at mea sures 28· 29 The righi' hand 'takes over the r1f1elody In meiil,smHS :30·3.2 be sure t~,elop voice IS heard over (he accompan)lfi1g chores Heillflr sLJQlgests playing No 7, then No.8 and t en r€:pei:!1l1Q NO.1. his provides a clear ABA form (A:::No 7.B:.:.No 8) plus I'l"'IU contra sri fig fl9 uranon. en

L Vivace, Op. 4fl~ No.7


Thjs piece could ,easlily be: t,rUed "The Spinning Top" for IlspinS 1(1 ....'8 rn tar from the lmginning 1'0 U'H~ [nUL The main «ieas are to Ik>.:ep the ~1'9h1t1-notes 119ht and 'tile rhylhmic: driv "I const 11't Dls'til"1guisih be'tl,jl/ee!'1'the staccato ~lghUl (Dealt~) 1(1 measure ,2 anti the si;;.Iteanths in ~hQother measures, SUO~l as 8, 10, 12,

'l4. 16.etc. Be car,eflll to dirnin~sl1lo 3 P O~1 l)tlai'1 of measure JJ and oJIOW limrnedJate Iy With the E (leta lore! r. Thl::l !5<equnce s
control.! s mrneasure 35~39, 41 43.45-47, andI49-5'1. In fact, there are numerous sudden dYllam!c chanqes This piaca is
5

ful"l for Ihe pianist and s udlen eo

19. Tempo di marcia, Op. J 2~. No. ] 1


The triplet sixteenth nota figuralion Is SOI11(;:wn:at remmj9'ten~ of tnc 'fi.guration m $cnlJbert's impr'omplu In A-flat. Op. 90 lNo 4,Op 125, No '11 is mainly le9,ato 'throughout 'it provides; a l'in~ contrast with !No 12' (tile Mid pieep.~ whk:tl is, mainly In No. 11, be;:sure the right hand stays under the lett hand m measures 17 'and 19 This is Wll~1 the i'erm satto (unctl3r, below} tells you in measure 1], Be.gll'l measures 17 and 1'9 f
staccaro, The tern co { j -60) remamsthesamein boll iee,es

"1

llegro vi

0,

Op. 46 No. 4

and d i mini sohas J nd lcatad Th I5 prov I es a t:ug contra st NI [1'1 measures, 2'1' arid 23 which are to be playe.L! fJ and ps: Measures 25-26 (right hand) are to b-e pla,yad t:f'?! Wit no <1 es(:8 n,do followed by a su doLlen Cly narrm: cn~lirI gew P Ui eGr measure 27. Be' sure .'U"e!melody (top voic~) D·E-F ls c}earI~

eac' q Jlllter note Its rull value. The dlmenuendo at measure 'j 1 (b e:ats 1 an d :2) SMlJ to bill' g yomJ back to mHo r beats. 3 an d ,4 ,and rneasu res 1~H 5, The sudden dro p from pm rat rn e<8SlIres 2. 3 to pin mea su re 24 5 hou Id be '!Ie ry dramatic; Th e Aaj l\VOsfGhords in measures 42·43 ~hClU~doundstronger s t anthe PIU fin measures 40-4 '1.

Trns ptece features nroken-ehord flgllrablon with ~reqLlent Itlur1~t~·und"f:'r usage. P~ay lnG lef!: hand staccato as Indioz:ued In rneasu r.!;ls1-3 evsntho ugl, t't10 damper peda.11s depressed; this gives. a slightly different effect 3S ccrnpareo to holdil1g

heard ill measures '27-29. . ..


:

3. Allegretto, Op .. 125. No. 10


on three basle ideas and a quick. place it in propel" perspective' A,=me:asures 1.8; B;;;·9~16: Al = 17-20j C == 21·38; A= 39-48;
IS piece is oonenucied "ofliil.l ,analysis WIll help

20. L' istesso tempo" Op. 125 No"n 2


L'ls'fr;ssq tempo tells us this piece is to be pia y 00 in the .s;ama temp-o as No. 11 Ev~rythil'lg seems, to be' dry and S 10. ~rl!!! and no pedal is to be Li$e.dl Heller has carefully indicated me me lod lc Ii he transfer between hands with the cloUed lines. The rnelody in the left Mnd of measure 1 {A B C·sh~rp)I1;rJ-e:stG I:hs D In th e right hand chord of m easu re 2, beat m'l.eYQU m ust
voice this D stronger than the rest ofthat chord lea 1 Or! he ri'ghthand thumb to help the 0 sound louder !'I1,arfl .he F .sarp and A in th It! rest oJ th e chorn Haller uses Ihe aoue line .tor U1 is pe of me lad l.c'1,10 icing ina nu m ber of measeres. Pra ctice th ® m€!~ody by i lse If wi I heu I t he res! of thec:hord until you have' the melodic Inv;! c1~EHly derlneated in your mind ,and ear The

tv

left nano part of m eaSlJres 2, 4, 10, 12,20,22. and 36 m s,t be aruculatsd very cl.early The sarna tl"ling sholJtd happen to Ihl'!

E, ~.'49~~€i;. '" 57-62·~C' (coda) =63·73. Be ·aware of each N seclioncai mat.erlal wne nit retu rns. KE!ep th s' arpeggia ted chords short and dry (secco) in measures 1~3, ,5-7, 17-19,3943.45-47. 57-58, 60-61 Notke the use of portafo tc;ruch ;ili measures 9, 13,49. and 53, Ttl is is ;;J non-legato tou eh, but not as short as slaccato. Tha ;tel1uto {ten,) term at measures 12, '16,.52 and 56 indicates 9 Iv i n9 those c fiords the i r fu II iiri1~ va lue; do not rush off o(them too. soon, Ma{TI(Jto,. seen at measures 22 and 30, indica es the left hand melody is to be marked.or b ought out. The mekJdy In measures 21-24 beg'ins in the left hand a t measure 22 an d.contln ues In the top vo,ice, n1g hand ht in measures 23·24, h.rFthand meascrs 26. right hand meaS ures 27-28 etc. A IiitUe rub« to shmdcJ bs" used In mess u res 36·38 at the ersprcssivo Indication, Move back to a tempo at measures 39 forw.\;ud The same thing ia,pplies to measures

'9
63-66 (iuberto). Gradually
r1tard from beat 3 ofmleiElSlIHH37 to

the ehid of messu re 68, Ih~ n kieep U'li1! tempo 8te~ dy to thi.;! ell d otthe piece, BElsure the left 1'1 a rid mefodyis he~rd in measures 67 ~Emwith a miadooic :sh ill: to the rig hi h a nd in measures 70·13 A:Milgh1 decreseeneo ill rnsasuras 71·73 j:s ~ppmpri~d!i!_

strong (ij in measu r~ 2i7 PiaJ.c~ thelefl: tlandbv8r·hl'I e: rig t"d"tl a rID for Uw. !3 ill thennsl enore; Add at least one beat to the NMI d"tOli'd fior tne i"em7ata ( t"':\ }_.

It is 81 Qoodide~ to p !1lIct~Ct1l- 11, rig 1"11a nd m!!llody wU hIM 1~:fI ~ J1 h~ 11 d chords, tlll30n add Ihe rig:l,I ha ndaeeo rnp~ nil', e ru TI'1Ei m~lody ~ltl~lts:to tnt lOp voice In meas~rf.l(S 17-22_ Heiler a,(jiJs some le,ft 111BFidrhythtrn~c COl.!nterpOI nt w Itll Ihe fi:.g:ht hand' In mess ~vrl¥J$2 ..30 an d 32111 is GO un lerpoinlsil 0 uJd,bEl brougtH 8 o~'l shgtl'ltly, Take plenty oftlrTl€< In measures 4 ~-'15 Not!ce thlilaecentsm th 0 me-ladue: IIIF! e Sit 11i,~a:i>!Jes 411 61T:ld42 FDJ IQ'!,!\;' th~ r !!I@.i~crdic through to U1 ril en din measore $,44 -45 F E ·:n~li(. · Iir1€c B r~alC IJ. This lQ'vely Cfiml/;ib!J,e ,slngl.!"lg style) piece IS o:lll·e:iill

Thi s qwet rusn tng piec~ usesa n umber or left Mnd cro$S~rI s g al;ier the right hand Whe n til i S OOCU rs, move U,e len hc8i The. open i ng d ireclio 11~ ~ell LIS at good dea~ -il bou ~the Chili raoter q iii it k.1'\iand 'c:kJ'5'Sto the ng nt hamL Do not move ttl e Iffi'! ~Hmcl of th IS [Jlfaoe: Andante (gOing i 1110\1' Illg:.steady tem~o); p,'ar;IQO high ~vB.r 'the ~ig~t hand-Inis wasted motion co'u~dmake yO\ir (placl d, t!'anq u.II, calm) ; and -dofcG (litera Ily means sweelly • b.u I. left ha no late a rlflvir! 9 On i~s Ind IGated note, Ob~er.... the e j h if; writer Iikas ~Q tra ns late it as .g€mI i y. (one outsts rI{;lIng aceented lett hand nares In measuress. 7. 9'"1 '1.13-1.4,17-19, mU~IGrt21!lfran 5I!;1t~$ Has "tENlderly com mltted") - The melo'dy etc these accents are not too loud since: the il1dicated arid part of'l'I1e·~ ceo mpii!! I'll i men ta re in line rig h~hand, measures O~ne.mrG r~v,e~ ~,'S p_Bfil su re thra I~ft ha rid 16th notes In 1-16' D E-ftiiltA E.:rl~1E-fl~1 0 9;ml1fl1'lF, etc. sO\ioiceth~melorjy mea~u~e's 2.7 28 fall eX.ll.ct~y between ttl e second and tl1htl stronger th s n the 6:000m pan ~m.e 'the repealed eighth no~~e ,08 rts of ~ih r~ght ha:M tlripl ets nt, s. e

7. Andante. Op. 47., No ..23

4. Andante placida, 01".] 25.. No. 13

nd

g. A i~I!::grdlo. Op. 4:'), No.


'Me1ochc In~'1uest is focUi~edmalnly

en theleJt handlntrus pl®ce. A 90 od le~q.at~:rtout; ~ Is req L..J Ired in rou 9 hou t. HeUer h"Isf.ld ded much Ime rest wiU, !he way h e' II Siers dynan'1 iet! obse rvs careru 11':1' hii:m'P1I1( ....::::: .~ ~ ) dy narn Ic.s. Dy nam Ie level s th,i';l :

981"n,

mOIl e iJ~~etin p mffirorl1 rneasu B3!l '·25, rlleaSI!..! 26 an d res ? 8,<51 th f)cnty two ill BaS'LII'i\'I:!l, marked r,- tf1etr~f9re-lhey' rnus l be fa nearc above me ngtit hand acccrnoarument ail~ ~JSQ ln
maasurH's,31·33 qu ieter (pPJ tbar'l
[11 e

5.. Andanti no, Or. 46~ No.1 i


This:g e ntl y fl·ow i ng p~ece requ
ha nd crosslngs Notice li'l B

The fin aI chord i rneasu re 35) shou ld be chord ~:r1 measu reJ,34

lo) On Ihe rrteiodk: Eli9 hth· notss in rneasu res 1 all d ·2~a re min de r to give th,~e UOl8$ their comp.le~e time value, ThlS. editor su;ggle'sls plaYing the rig ht h and melDdy at leaslo ne d yn a mk: ~8\1el lou der t ha n tn e aceompanimenrtemeke ,s.un~ it ·~8 c.learly heard, Observe caretu'lly th e "h a Irpin" dy l1am~cs In measu res. 1 0 12.,_ ·16. i 7 • 15 18., 21:~22, and .2-3~15._ Begin the "halrpln' crescendo in measure 23 about mp The sudden dynamic chang.e·'ln measure 26 she U Id be ve r"j effective, TJ"i edltol'" stlgge's~s; a is-, slllalr·dimem.renO'obetween the -final MO E:~tlrd~,_ .

ten_(tenu

~1f"e.5g0Qrj

m elod lc prolec!1 on and

9. Andante con mote, Op. 47, No. 21


Helleri!> a~Ni3y~ interested if! writing iF) beeutiflJI r11¢IQdy and lFlis piece snows how we,ll he perJectedtha~ in te rest, Ttl e lelf! hand le<1.0swan tM' ['Ogata melo.dy at rneasu res 1-9,20 (beat 3) -3,6·; the righl hand h as the ~eg.a.f() me IGdy d wrung the oth ~ r meaSttr~. Bffn9.O"uUhe m,~Jod[c dyl'1.3miG'S{me~$ures 1-2, 4-5,6, 10, 12,etc;,~, The syncopabed at.;compammel'1t must alwavsbe

.oy
6. Allegretto con moto, Op. 45~ No.7
Here we have t?1 e rig lilt han d pilay;ing tne rn-elody 1nottavE:'s plus part: of the ·ac:cmnp,animetlt with the re~9alted aighth no~e,s;. The left: ha nd main Ily provides a haHli'lp~ tC .sta.QGato adc£;imp:3;" niment, P~21.ythe left: hand ,51taccato, as tndtc,ale.d, \l\Ilth tile

Observ,e carefLilly the ritEn. 01_ tf#71PO al measures 1 'f. 15 ,arl!d 20 Which add roueh mUSical ilntBrest. Show phrase en d 11195 such as rn rneasu res 14-15. 17 .19, etc, 5h,QrteF'llll1g the ffl'lla~ nets-values of the last note .of the phn;;.a.eand' ~'i terting .~ mUe air space cleaR' thescwnd, No ped:al S\':101Uld e, used Inth'lS piece. b

softer than the meriDdy

10,.. Allegretto con moto, Op, 471 No. 24


Tile

H3th m.e19.rliit notes: (me.~f~lMe~· _N:', 7, 9~15, ett~) m IJst pe.dal~ t~ is :9iveser s.lightiy dtHe renl effoct i:n an whe nth:e !efl alwa)i's, be e:aisjly h,eard,t!her:e·fsre do no~take a tempo that will ~al1d js p.layed legatcL Obs~rve tne-difff;!l',ant dYllo;l:mic; mark~ ings tor ,each man d: meas ur'€:&1-13 mffcwlhe rigih t hand ,a1M rpSike -theri1 und~ r to the ~i$tenoeF Beg i n til t "l tempo ground p lor lh e left han d. A crescen d 0 at me<3JstJre 14 (Of t11 left. hS'li1 ",'" 4\9 and ,gradu:9lly work:: l:lpllQ. Hiell'er'.s .,'''' e3, HeHer Shift's e d

Iead:s to a. ·suMo (5 udd en} p m measu re 15 for Dotona r'Jid 5,. M easu fes 23~26 ,shOIJId .be .strong a Ild dedshl8 (deci:sa) witt:! Ul~ climax in meaSlln!i! 26 RBla.>: mealsu~~ 27<~8 {S's;uf6ssivo) tt1at~eacH~ ritard iF! me~5ures 29-30. Retllrn to the open!ng -a

tl'le'fil1eloo.V back.amid farth betwe.en har'tdsin measU.r~s 1O~M.; be :8IjJr~ ,t rs :!Jlway:s we II~pl'[Jj'~Gt€ld N otioe th~ right 11:;md ..

rneliQd y in me·S'5
G one, octave

UP~ 36

gQe$ Nom q u·srier note G to qu a"rter on ate


IF,ollow the p€!dal Indications carefully,.

terri po at. mea s,ure 31, Be ca refu I hJ 0 bseru ~he left Mnd dffrrerHi(!ii!d~r in mea 8U re31 til at Iead"s 1.0 a p uri rn~~Itf;u ~es 3:2·
34, TI1e tinal cres,eel"ldo

~igtlor,

In measures 35··37 slio.Ll1d le~d to a

10

11. Vi YO, Op. 125, No. 17


VIVO means lively', an ~m sted and th IS seernste b~
.:;1.

measures 4-7. 12.-15, 'etc, and landl'irmly


go r,;;J;J e.igl1th~IlQIWe chords. ObSSN®
car€fuJly

on the follawfng
dYl1amic

the strong

Clon1lr.etst{fto p to f') in ths's€ measures. The p repeated chprds dir(;idion far this der,ightful piece. COUliit measun::: orte slOVli'ly sh Qulds;Qiunalike ;;I n echo oHn's repeate-d f chords, When the m tnree groups @rrOUfSfXlsE;[lths each to m~ke$TJfe 10ll !c,w(loclfllJe D's resume at measure: 3D, notice that batil, nands un d,eorstand th e aecu rate note value'S,· ,..h'e th ree ly ~s ·Qf notenow nay·i!i! oct.aves. Th~ ien (hold) Indications begirl'iI~ng in v8h.rEls (s:ixleenths, eighth and quader) plus,lh'e sart:l'l9"rypes,'Qf rneasu re :3 i ~1f1d reate thEH:t'lord irS to .be lheld its fu II time V~ lue: rests maKe for a Mig n Iy irnteresting rnyth >rile ·oomiJ tn~!:iol'll rJ'Olwt rusheH rob :S:OOI1. Tl19 PDCO riten-at measure 42 means M€2lsure 9 ii$the mostactive yelwitt112 sJx~eell!t:ls (f), rOUOl.'JeO you ,;;JhOUikj 9'Elt a Uttle slower in measures 42-44 and Ihei1 by ~ drop of dynamic levels in msasure 10 10 a p. The lig'hl continue to pi ~jI' eveilly !fl this slower ~~ mpo lln~il the end. hand top note rnl1!lpdy In me.asure 12 shifts to '~heC ,~hElbonarn note ot the C E G cho Fa ~,nrreasu re ~:3. Le'-'lrl On ttl e om rot hand Ultimo to make the s{:l~Jnds!fflng,a'r Ihan the resl of tlu~ chord,
IS ~ won(jerfu I sl~Jdyfor dell 910ping 9 Fa ceflJ I faCilIty In c r'Ossu'lgtl1~' han rj s. T ryto rna Ke ttH~ hne ~tr;aflefer belween the hands a~:"SrTloothily r.orme:credi ali possible, Me:aS~'re:s 1 (l Introdu ne hand cro~s~,f1g13;beg in n i ngliQ l rnee sure ® 'I he hand c ressm g!ll eonnn ue Wit!; the n1@IQljy to be IBmphas!~~d maasu res 41 ,·42 leads to. the coda BI remro But pe.rdenr.,i(}}.sf camo t)~mpff,JIWrme/'o} end lran sfErred between tile tlan cis (dy i!'lS ~W,f,ly) at meEl~~ra 44 tells ttl ~ plan ~sl to getqu~e~err~11 t;~ '1111'3 ay ~D the L~nd end do. not ritam8~ w :suit! I~e rtght hand A careful dlstmctlon ITHJS'tbe made betw~n ~he ibroug hI ou~ continues to tl0ld I,he chord in rneasul e 50 W'!~il~U'le ~enhand melo"CIyAlne! thr:l .~l.J r;liportlFIg acco:mpa Ilkn~!1t, Wi"ut:11IS to tie p[ay 8 its eig 11th note C and relesses III immedlla!,ely T his wn~e,r played lighHy (i' f;lc(X:uuPfjgu If;{jgfen,) A quick si~~noefil.hQul~J '-0 be n~art;1at the comm€i 5 Itil mr::l~'5 res "8 and 36, Take a liUle U SLJggesl.8 • I = C~ 1:'2 . mQJ'~ bfl'liffil (!Ol.Spr-eSSIIIC) With measures 23-.2'6, 5" -M. and move on in n ieaau res 27 ~3(lElind55~59 P{IJrf:f(!:rJrJOs/ (mei!)s U re G,7~ dr~cts the p~anlst to get qUHElter all the w~y to t~le rand witl'! 12. A.~ legreuo vi vo con grH\jlJi::I. no ri ta rd. Til Ei correct use of til e pedal ~s~)(.~n=mely Import-an:t Op .. 125, No ..23 In t~lis p lace Heller has eeen v~ry C<'l:re to ind lcate m'u sical FuI AJ/ljgr~Uo {s.~igt)UJ'f:a~t} combined with vivo rl~vely, i.loil1w'ted} ipeda.'~ngs·. ~sdirecnons must be followed exactly as marked h anc gral./a (with grace. el.eganceJ pfovlce,s jnf·o'rma~lon 011 the chsracter allQ tempo of lhls u"dance" The pie~e is ti!ied WLth danoelil<:e rhythms and rn igh l bB Bub.d!it IBd ~BJohemia n D a nee • He: Her's ffloth·e r an d fa;the r came fro rn Bohemt;;! ·;i.'!i'!ld 'Were '01\,inal is called Deu:fsch ... BtJhmen (Gerrlian~B Q he'mla-l1s J'. They spoke German. The ad i to r sug.g.eslsa crsscen do i1'1 meas ures13- 1·4 Ie ad i.ng to 1ti e h"l measure 15, only to be followed by a s.utDilCl {r;;l,Idd.el'l) p and (ji9'Cfssoenc;jo In me;~sujjfil's;17~1i3i_ A·.:slm~,a.r place, measures 23-,24 should crescendo tothe fin rneasura 25 Takea litHe more tlme with measures 4S..048 (·esprres.:sVvo)

E ~lnd G M~;;1ls!,Ir~ 1B (melody} go~s to the top G ..rn I he chord B...!fla1: IEG, In measure 17. The word strfn9"6'I'JOO atmea~mTp-; 2'0 Ineans to hurry Hlfl tempo (g Ell fastef~Thls contil"!ues to measure 2.6 wh~re Ammalo (anirnatJil'd. II'oI'eJy) tii'klll'iS-ever (measure 27} and contlnues tl'ltough Iille<il~ure40. A 'r1t~rd at

14. Allegretto. con moto, Op, 45, No. 22

Til rs ~ne piece

rneasu Fe 49~50 shou I,dbe p~ayed wi lh lne, G ~11ghH:,t t~fora the be ata nd U·H3 top F Shl(luld be on lh e beat w~rh me left h!i"lnd, C hora. 00 nol ritard Ihe .franqui!to (t~,a:n:q uil, calm) mea:1l,U res 55,58:. save thatformeasm:e::;: 59 to the @!flO Be sure 8iril~ bring "fJU~ th e inne r right h,and melody In rneasu res 71- 73 (B-~at Bflat C [l~f18t C B.-flet AA!st)

and

~ l(jmpo at measure

49.

The

,3irpt;ggiaf€id

chord':;: in

P'O:CQ maestoso, Op, This piece contains ,stirringi


1~;~'chman:inofPs

13.

45 ~ 1;4 Q. 15
'50.r10

rtttes rermrnseem

"Pretude In C-si1srp Mi.ndr,~Op: 3, Nn . .2. hi! fact, Heller's: piece provides a fi.ne preparation S;~lJd:~' IOfl'le Famous Ra"h mard:rJoff p~ece. Poco maes/'oso teWls,u:s;the' tha racte rcf the piece i~ 8om~what maje:stic and srnte~y, C'(l:rP torza teUsl,Js the law oclave D's :and Fs tl1roughQul the p,ier~ 0) re to be plill.yedf withruu::e, o{$h::ong~y. LJ !"lIesS T n~~cai'ed otharwlse.as in measures,24-30 (firsl be1i,:li), flle:sf ChQfQS in mea sures 1-4,9-12, atc should also be \~eI":'f strong a~d foroe'fU:l Boul'1ceoft lhe first of lila 8P::tasrrtJl-noia chords in

o:r

·.·.'.ul Ro mianuc Etudes


I .,..
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II

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rJ

AlleghJ vivace, (J~~Q;~.)


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Stephen lleller Op. I25, No.3


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Stephen Hell~j~ 01'.46, No. 22 Assa! modera ~",' I·I!= J~:sl h-, !.J\,'
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Stephen Heller Op. 47! No.

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Stephen He]ler Op, 47, No.4

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,Maur ice Hinson


As one 01 America's most respected authoritues on Dlano hterature-, Maurice Hinson Ms performed, lectured ana gwen master CIa~s.es worldwide.€! has. published scholarly .edilivl18 01 works by Bar. 1 Bef.'thollen, 8rahms, Cnopil1. Decw;sy, Fran.Calx, G.retcnarunoff, Haydn, HIIndern nh , Liszt, Mendefss:ohr Mozart Ravel. IRCdrtgo Schumann and Turina, as well as collections of conlcmp.orary American mUSIC, He is th,e author of several bOOks

in clu d i n9' GtJldB to 11r~ Pianists' ,Re<peo()ire; The Piall,Q fli1 Chamber Ensemple; 1'v1t, SIC for Piano

and Qrchestra, and Mr.Jsicfor Ml)re ThBn One P{erk> Dr Hinson FnUl'ldE'H] The Journal afthe AmerltlifJI7 Usz! Society and serves as <:Inedfltor of 'the Amerir;;i;U'I M~ISiG Ta8'ClltlI' .

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