~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

•• - ".. "..•... .... ] 2(}.•..--. ..".."._... "_'"' 46 _ 8..... No .-.".>'~... 1"'\0.".. "_..... ..' 'I' ". .'" ".. lj.. N ~J. !. ••••• " ••••• "._ ""..... _. -n'....." . '.18.'d' '''... Op._~"'_'_." ".._ •.... 19'.....__ . . No.... . ".". .. "... (}p. . . . ..[et:l from e~~lE!st (teor.....• " •..." "..... 18 o ...... •." ..'" ". ....' •...'""d •. .. ". .'" ".'. '". ...... ~ 11•• .. 47.... . •. .• ] O... g .. ... '''... . I ~~ . .'''. . N·o. :... Op.. ~"'__.. "'..45 ..'. Op.'.." _ .. "'_ 38 ._.'._ __ "..'"'." •. NO'.... ..... ... .. ()p...5 Part ~: Eady to M]d-[.-...' "."...40 j5' N·· 1. " "."•.. .'..."._ _ _. _ ......_..' -........... ". . ]..""'''..... "...... " 9.. ""'''._•.'..... . ... ...". "..'".... . _ _ .•• '..I 11I11.".".".1 . ".. 45...." .. " ". . .•..... No.. "..." .. Or. .20 . N·o..hniC<Jftymiif'll(H'Pre'h1It~e\'Y) ~o rn~st ~TfflCl!It ~ .. _).. ' ••. " ..'" .._ ... .. "...".. ] 25.. -. ...''." "._. .....:~ ~ "'." .... ....".. Op. . .... . . ....._ . . . ~...'"" 14... .. ......-----". ' 4'1 4 _ 0 p._. Op.. ."'''.....• ...".--. ._ ". . •. ....... .'...51 12 Op. ....". ... •• ....."..... ~ I~....... .. . '3....~ .."..5 '14.".". . o.. 44 ... 3 ..."... . " """. ' ••••..• .. ".. ...'.•. .....50 ] L Op.." .•". ".."'... .... 47.._.. .. 7.. . •.... ...35 .. ~.... .' ~~ I. .". .... No..." ." ... ~ p...".•... Op..."".." .48 ''I' '''' ••• "......" ..... 4 Introductions by Maurice Hinson "_... " •... Op...._. Or. 47'....'...". .._... ._'...... ". 24 I>."...._.. ... .. ....'....". 2.. ••. 2. ."".... '""''". .-'" . ._ $.: 10"_". " ". 125.... ._..." . '''.. ".. Up....• '... 3 .. ".'.. ..NO'..... "."..'" . ...." .. '125 . '" ••• "".. 45...._ .. ...' .. N()! 5 . __ _". __ ..... "' . .."....."......"...."." ". .. 1...'.• .." .. '."......2.4 ....." "" ~0.".. '1..•• ". .~II."...". -.'''."...__ '''''' .....".. .. ()r..'.'''''. .".".. _. ".. No. " _. Op. . 125~~Nn.. ...."" 31 ...._....._.. .".. 46... .. . . 47 .........L." . . l '._ ........ ... ..... ()p......." ....." ".. ......''' "".. Op. ...~·~~·-~I. _•••......' ."."'""..." ...""..' 9.'."...•.. ..' ...... ._... 4" .'."''''". . Op. ~. .'._._ ..._~"."". •• " •." 11 ...'" _.. No... I F! p. •. ._ .__ ....! ~ I ~........" --..."" ... ] 25~No........ .. 55 "..' '. ".1 .n:termedrate 1..... "..47 .. ..' "•. ] 1 1]. No.....'''.. 'H..'. "..._. '.. .__ ".... ...' ......•.". "'. """'..0 I jI'"I~ \oI)~ll ~..... ..." ".... . .""'''._ __ ..". ..'"'''...-'. ..... ] 25.' ". ••• ..'. '15 4... ....''"".._ ."_."". ". .......".. 13 .. ". . .."" . •. "....~..._..._ ....' .' .'''' .." •. 45.. .......".' . Op.."_.". _ .. ... ."..... Or.. . . 12:').".~~·-~~I~~~~-ir~'+·1 +.'".. ... ' .._...._..".....3. ."......_.. "" .Stephen Heller Biography .~ •••• ..."......8 ___. ... _...• .. ' .5. . 23 ---.• ...... ._ _'....... 4-5.. ".._'". .. ". 12 3. ....~~'"_ .."''''. ...'... •• . .2] .'" . Op 46... "". 47 •..' ". .••••• 11 ... 45~ No" 22.. ..'''.. .. '.....". 57 ..".. . .'... ..". 19 ..... .. Or. No..' . J?..."". . ~_+ •....-.......... 2g 16." ... .~~r""rll~i~rlrrll~~-~~+rll~I~·~~+r""~'~~~+-~~~."...53 "..'. ". 14 _ __ _ _ .."' .. ""'"'._ _ .. .•. {)p. ..... . """'. •• "........ .... •.... 15 _ ...' ."" " .. Op..... No. 125. _~_ ... "....'''' ...""_ " ".. (J'p . " .I'i.....•.. .". NaJ'i2" . 23 12: Op.. .... ."'"..".._"._........ . IS....3'4 _."~ .. N'eL 23 .._~ ". 36 2 ..-.• 17. " ....."'. .'..... ]:2 _..... ". ...... ... . 46. "". .......• '. 47... . 4-~~ . 46~No" '7..••••••• -H ••••...' ". ""..."... .... ... 125. Op .'"... 24."' _.. ......."-" -'.... _ j "... 7..... ... ..." ". •... .""" "....-.... -.__..... R ..... ~. . Op." ~ _. "._ -... 29 ~..'""" ".. No.""''''.a....'''" . """.. ...". '17 __ _.... ". ... " "" _".....i'..". No.. 1._.....'" "".. 7' 7 ..._ ~ •.... . . __ ._"" _ . •.._...._••• "•••."..".... ... "..+... _. 1\1-0... 125 No.....-.._..".."•.. 'N'o.." ". -~ . '.. .... 47....-... ] 0 ..• ...... "".' __ -. •. _.' . .... 46.". 27 15.... LeVI8~ Etudes lir.._ _"". ".". No".. .... " ... . .... . ". 125.'' ... . . "... ..". ._ ..."".• ' •.."" ._.. ."'"~"' ".....'''.47..... ....-.. .. ..45.."" ".......'" '.. .".... "... "... No 22. No.."......_"'~_ ."....""'". +.......• ._.••••. ". .. No_I] 6. .' _...B.." "... . Up.• .....'. _. ..' .".". ." " "'.... No... . . Op.".."" ....... _. _ ""_..

llerand i I' 1836 ng.led lin Paris.hich contains.ugt! th e main objective [ilf Heller' s ~'t:ud:~5 is 'to cuJtjv~[. 2~4.r$(1830·38~.J ColI~cUon presents a selecllon 0" 34 pianoeludes ttrat are bea. Op 41 lJrlh1e'r:sal Edit~an 5922 Tw~mry Four Et(Jdesfor the y[Jun~ Op '2'5 U rllvepji.:ter.ilth Carl GZ€lrny and)\ ton Halm who Introduced II reller to BeBlhoven and S"(.d!ate students.tILII.etw .~of.al problems.0 45 Un'"".I'(. that dealtwitli various. Krehblehl cescriees the esse!J'l"'al cni:mEi.! Hs lie I bei9 a 1"1I concert tou r of Austda..loppe·(j In Augsburg and remained Iheo.studies a r8 written ~ HJ@ He#8. d. ThMy Eludes.'lI"lI$tIC de~Jopm~nl {hand sne arm ~ligl1Fnent~ 'mu'$cular coo I'di nation. Heller beg a n to co rnpcse pi a n Q pieces somewhat related to Sc humimnJ s c..His studie~ are jess for .. In 1838 Heller moved to f-' ans wh ere he beca me f.en til m through their correspondence..lily 0 r thesE.5tu died com POSition with H rppol y te C l1elOl! a F reI"!en fTlU SH:. refresh iI)g a nd rewa rd in 9 to play.1:1 rId Lis!.always IhotJght 0 SchlJmO!mnas tliS spirited brother. I iungiilr)' Or! May 15 1813 and d. With rnu en V31l.hip C's\lBloped b.al Editio n 1695 'Henry E KTelibiel The PlilnofOJ1e illl1r1ll$ . 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. . Buds a f Berl iOZ:. ~I Of hoE! wotks tn thIs colledton would make an exciting and colorfUlI addition to a recital.aged Heller' 0 b ecorn e H rEg ular \:OPl tribu to r to Sch urna I1f1'S jaw rn Ell. arid Heller .lthough Heller ~md Schumann never met a specIal elations. "".d Hoene{ In Ind'ing hiS first publisher Sc·I·II.c[er of HeUers etudes and wily th'Ely are suecessfu I with stu d ants .le nsupenor lo Chop I n. Part II is fo the late.:.q.tntit!f sd'~lte .l. DurJng ttlJ!> tim~ Heller . E.ltlruliy con stru cted.p[ec es. A. His piano etudes. Op I'f5 Umversal :Edit!t:m 5920 . eas-er se. Franoe on J~nlJ~ry 14.t::.fectronsthat are appropnate far early to midIl1terme. pieces The pieces are 9 rad ed~ in onJe. PQlalRd andi..eifsaIE¢Ji 'fon 5'92'1 rwel'l~Y Five Elud~g. H. 188B.$~fta'!foll.student.ii !hat Hel[er was supern. an d other facets of 'manual skills.aSSI'ste. he also achleves specific gca_ls of PI(. tlOpl n. HBl studl-eCl il'l Vienna \li.nan::u. Rict1ter).:Ian Lher! Ili\li ng i rI Aug sbu rg Irl 1~ Sf! H all M l1eg11l n rd his ~ongcorrespondence with Robert SttJumafH'l wM.:!.lIlly.:mElV·S :5!l1fl:9. p.e musics I taste and expression in the .t gers tha n 'iQr tne nea rt all (j mdn d_They 1n ell [Gate III usia in its ethereal e~sem:6 raiher H18r1 11. Heller's pseudonym "Jsanqurjt" (Jean wrth humor) 8how~d his grecal ar lirat:ol1 for Jean Paul (J P F.4 Stephen Heller Stepl1efl l teuer was born In Budapest. Un' 'ers~tyof I(I'W.I 19GB .t: N!!III on <Ronald t I'lcotho Jr "Tho Lif anti MU51~01 SL'el'he Hel~ Cnal1il& Sell'.! feu eight y~.Ilr.H~d ~n 1 B~f. 'lpvl'Jhsh~ HIll. Th'ey alsc pro1ide eXG. 0. .reremstrurnental In establishing his reputation as a composer These pieces Sill others dearly shO".1 of diffir:t. t He we s very su cce s sful as a pia n i st a nd sam e cnbcs felt tJQ was el.ad to give It up be-cau se f of exhausuon He s.s cl ram pion M H B.$ meChanrC?1 fll:aj1iie~ta~'on:s_~' Alth Q. technk.!mal1r1 a Iw'a'l.ety Ul the p e SI] na.a rnotlvic transrormation and metrical ambigUity. In tire ingemous man ner In whi en the .German II blJ t M.~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. beginning with Part I \.

ltQ then JflgEl'lO) plus -cl€lver use of accents sdd m UGh interest to thi:s still dy .he melndy aga i t'l ill measure 13 A beet 3~ iOl\'\r.hsrrnony.~rong~rI1i51r'. Hell e r's mtrod uctory words. No. 23~27 sure lhee[ghth note pJayed Rg<3Jnsttl1e triplel b~ itliis . No" 22 PlaYlh~ smal~note (~[. 25 and 26 s lightl y b erforerthe bsa [ KEiSP th lSI mli5llody (10p line) voice d $tr'Onr. Assai.. rm:Ato· fisp.6ct~y[w.il.l F of st .u~t. 21.r mat the left hand melody t~ctm~qtJe. fe:fl hand takas 'Over t. fl!~xibj~tty. One must do eve ryth ing po ssTble 1:0 h~Ipjhe Muden[. not lil~e 1he. 17~'1S.et:i$ive rl4.1 :sotte. then u two. Measures 34-36 sh'otJld be tl':!.€ Ofthies8 Ilew eludes i!$ID bririgln. M~8!SUf~4-a 6.J'B to th e r€st~."S} secrets.The s!. myseff.mlJa. f~f'~~I... Willen Is the melody Be ~lm~ I~(. ottJeat 2. ] The Twenty Four Etudes . m~lody tranMer belwee n lh@ h a 11&. ~5. a qu arm r.for the Young. ~n measure 13. Be su re ano :g tva fuJi ti me.5.owed 'by four staecato (OJ lfGl rters with (:) t pe:da. Leve I 4'7. 47 15.3 OUicl!l·d"l8lI1g.re.ig 15U rprlse to the a udienee .of rhythm~(.jst good mfwlth aSLJdden drop back to p In measure 30 Be.j:Irlplals SIf:lrJ r1upl~ls are played e. :g~20 and 23~2. 5.'For Improv i ng ih e serrse oE rhyth m pa ny'll"Ig trl pl. '17~fS.!ell to recc rnmene It· a st LIdV' Ma d~voted to duplGlts and triplets.dy (measure 9.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[.t mme nt. 1].II'egreU()) 471.Op 47 ls asrol!ows k in rnoosures .. 39 i'il'nd·43 are played as si:xt~entl"fs. 13.vah. 1:0Opu s 125 are: -The purpos..Iccomp. Op.et To p~ay Ihem hk~ m~Lil i rd P. (sa me rlIote) ..Ii'ies47 <4 8 5noLj Id be d. Allegro vivace. the haft hijmd p.I. 46.. ex"istence wh lch pe rm it on ~ya fortLl natB few to gam .n t ht btl no rn~1 odic Iina 0 eserve c~re"ully U.:mrj tnplet accornpa.jud ttlrough measure "1. let each crescendo 11"1 measure 5 27 "30 Q et str-o nger so.Jw H) m '~. No. 125 were cernposed to help you n 9 pi a nists dave lop fat.5 Introductionsby Maurice Hillson Pa rt I~ Ea rly to M.C~El( of Mendelssohn..y "a tempo" at measure 28 to tM end.f. of mea i:.. 5.~II the d triplet LJ~ag'e in the piece.r places." Ope 125. pieceis [0 be play~d "atease" ~:lIi'dU'le rnetronorne mark Indica~i!!5 '3 fairly :S['(lwbE!mpo The rlg1Il t h. Talke. (lp.o. NO. '1-8)sh:QuJd be as lrei:laro as YOJl can play it OM aynarnic le.s Cf. q 7. be plays-a qUieter than tMfirSl note of 4..rnrG levels whe 11 the rig ht han d has -the..emHJgh Limeatmea." Op ..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.1Jlllll!he p~ece hase !Idea 2.I.H e th e half nore tied to the qllJart~f f1 ate g€!tS rls ful! li me va ILie.l. $oft and \\'Ii !ha u t fila I'd 15-H3: th~ cre~c:~ndo m m@ooureSi17·19 arrives at measure 2. 11.'islVO ·.2.2).i:J res 51 ~S~sh 0 u1c1 betlie IT C ['$~ in [mas ~rE!54 e ff in measure 5"{ 5 nOlild eomeas a b. a qu ~ r'ter res:~ 03h a~f note ti~" to.ugil measure 251. 1M tnplst.J rEI S ed obse rve theaceen ted en 0 rds .effe.c:t prQV!rj'e::sa ~cllltlllatln'!.above th e rjgtrl hand G..21.1. The loude:1it pari.s pLoce 15 0 ('Us'of the most b.From mBaSLlr"6.oul d. 27' NO.I~[se th a dyn<3..:1· ~.e:t~.29.a~d thrc. Be 8Uft'! lne siXleel11h !1otes.(nuf. s'. you carl a~rive a't 01lbrimf. Adagio. The IBft hand I'rWS t si ng Ihe C~Ho·11a rliBlud 1 and el!lpression· HetlBrs pn:rface ttl.ien:iMic ble I .) and p(tneaSUfB 43}.1!! 01 a lriplel Will be .I...9. d€'SF'dW the wcncerfu I syste rns Dfi Ilrstrudion pr.ing touches (slacc. Allegro.i.. I5 This bea utifu I p ieee is rem i n isee [It of the tirst movement of 8ee!110i\. PI~y tl)C leftl"lOlllnd C 11'1 e~s!.0 not rush ttl rDU 9 h thE! rest and be si . witn tll~ lef1 h~l1d 0 $liO'1gl'ilr l.and rI!ment (measure.n measure 58-.a tem !"lWUQof1eeceu 5'~ of .i'~I"I'$ &Mcro~l.effe'Q~ive in :!'lI1I01 HeUer's' pian 0 works.staeeate quarters each pedaled. because rnus lc is enerrno us'ly camp Iic~ted..2'3 and 3.U.ve.0. rhytlnn 'arid expressive ~fH:i(e.d~.sure 17 to insure the len hand rrJoiill0dy G .The .chlJmtinn. 12S~ No .1 rBquirp. q lJarte~5.cla'. Op. 5. iln meSisUlms 1.e qu iBtast Piilrl 0 f U16 piece l 3" Allegretto con mote.rt ~mij:at€-s the ngh I h 1ti no pa:rt (a fifth Ilower) rrorn me@iHlre17 A d uet belw.e}l. Th i.ythms...$ I r1 rnaasu re 1fl-till i s eonf rures ~nmeiiSUres 19-20 TI1i s proced ure is re pe~ted ill msasur e.esenlly i r. Gp.g 25-28 Be SI..ight Sonata..111 measures 1.lreflJI GOurlting and a steady .). w~tl' ou t ped 91.tt-fe melOdy.id.A.::Gatura) In me~~u~s. rnnderato.. ~25~ No. 31 ~33 an rj 315-31 Ird are accompan i rnerrt an d sJ.tempo M€l"dSU fMl-2 Illeluc!a Eli staocato qua rter note..ea u. '13.26 to the end IriS right hand Im's.ry. In mi?aSl! res 2 4 and g.32 Observe lhlil long psdal at in m~aSUTe:s 39 -47_ tIN..3 Thrs little" So Idu:.~r'. I'he r~g ha no c hard to sn DW Ihe and or Ih~ le.lfe sole'v' InC~ndedtoform the mechaln~smonhe fingers.a. .t. rd1" h a 5 rm. [f'i measure's 7.rpG·sharp.1 requ i re Gar-eflllvo~cmgor tM e top me~ody note over thea ceo m. Hpld ti.e mood throwgoh Ihis final mBaSUflEl -n.tifu I and .mil b~ hE!~lrd.to rrmjcS~e rnecc and a cert~ff1 amount. ano qthers. . These arerQltowed b.Agre!at rJ u rni. fplf.4L Measure 29 shouJd iElrrrve .J b!nUeror Up. In Op.h~n 1hf:l right hand chord MEi~$lllfe~ :U ~38 p resent t he mel 0 ely transfer red b~twe~n hands: 1-E D IJ C S B A G~sli. 'including thc~ so-calledB'~iy "\ilrotrk{O. ver. meto. 25." d I'~ forlf'lt!~ pianQ already ~l.lhird part of a Iripl.J sonority. d. Notice ttl e accents rn the I'eft h 13no at rreasu res 12 an d 44 are stro hge r t 11"l!r1l tt:lose 1 the rig ht hand AJI 0 Urnsasu res 15-1 e· I'll re (he rJ :slron9€'st<ilcG~nls to th:.lt pomt .cceS$ to' h'e:r (mL!SIt.1. etc. Up. Adagio tells us tnl's. No.~ nterrnediate 1.~lity' m expressKwl and myth m. All music i~ diffi·c. and keep til e handel close to! he keys. Op. The second ~Ind ~h parts nr·the liflpl€!ts in measures 27-.1 the p.eeD"! rhe!opand lowe r voices ceg 111.tJ. 9.~"~.ll1t r~~nforl'tmrlrJ measures so.$ of the tlrip let Heller uses tne terms espre}fisivo an d.!'en the secon d and th ird pa.. beat 3forw.owed by~hleie staccato Rf!l!'.aclly in lime Anhre at a strong ffa:t measure 39 and droOpback to f (rnessure 41.erttl a n the rest of thi€' Chor..

p!rov~d B...4 1. Gp. therefore the m~19dy oaH~flJ~on nUn 9 .lpO sl The meto~ly 20 (4th teat). €..~orescendo) wfth measu~re.l mphasized_ FoUo"".:!4 prov ide a short b ndg el that leadsl..Perholp.oo s.r.olas~ttClllgDo.. (no section (rne~8ure8 1~B) ~s like an lntrodl.e re tllc right nand ~re$c:em16$Follo.l.~!t:shQUI(jl00 50und \.tJO).0'req ~Jf€ s :2. n Hi)<I~~1re n 45. tS5'lkQl~ ecs.:.1 use legato IOUC'1 With boU. eleg a nco.-a:t'fls bl.ssu're5 '1:J. Qp:. OIl'. are!nerg yreq l:. this is afsoacco mps_rdedl by ttl e' ng bt h21nd O'PBIII fifil".I'h~l~ the IOl. acterofthe' pH~oe.l~jnmeasul'e:l be~l4 DC: measure 7'.r M usital R.(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.sl..U~f1 otes in bath 11. re The same pal IBm eccurs 1fl eqo~f.ir students perform c:arefu'llylllB foollowhlg snrdies wlths II the nuances.J111y r.ed-al di rectio ns rlhi~ expressive study uses question and ~n:swe:[ toohn!que l 7. portato) are u~ed p.311dl'E!fill'8ir~d w~tt1 !tSquiiilrl. 111if rig hi ha I1d me lad y Is u 5i !jiMI Y th e first.._ ) III d I~bons_ Contrast me~sLHe jrrlp'<lISlJ re 2} a nd octave ~D (m~as ure 4).2 an d J).lalhiHl in measl..mge Is narrow: p P~U!\ a few na1rpm . 2 e: hands are eqlHllL Me.~t lhe. The Ie:rt h.mta b~d p.11 til ef rstooo measo res (plll.Ind 39 ~ Heli!~'r e~g hth} si nee til e th i rty ~second note is part oflhi& accompaniindic.e sustained top note.in eect1 group of lrigh~ n.1SlJ 13.cteill} mdicstioll in measure [underscores the genlRyrr.20 present a newliguratlon .ilets i n rneasu res 1 (Jo iil nd t\ 0 ~ re. Andantino meant a tempo.olv~ in lQ a cseen z a al i ke Pal $sSllle in rneasu res 16-19 Mea:su r~~ 2().~ 25 n i n eteehth c~ntL.uId ea~it.(ilnd fOLir sixteentns. Assai vivace. rne.s.!1 to fH.!'. elg I.. Op_ 45.uar~8r8 halves c 1.or tha rnosl and comp1ele inter~ pretatl"Qnpf thL'l! author's intentions.ar.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\.r~s 211-27) mlJ:st not be thumped." No.in the left nand in measure t2and cOntinues In Ihe nght flrliLs-hes.21-24 anti 34·35 J '~he.lwthmand fJI desire f. (ler. so til ls ~llJdy is a duet i. Allegretto seherzando.8.i'ls. No.ee rs based ern the contrasting touches of leg a to and st9coa·f1).mMfB (o always ItiO !'In€.~ It M d:3" muc h UTte rest.1it.r.ccent rs on beilH!3 a ~7 ioSr..1I W€d' by I'w'O 16'~hs. a few !1i:11lrpm{ .tSd b. 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'. SCi riot use pedal ill mrs bea l 1 i r~rnea sure pi~G. N 0. beat 2.l 0 ne bea t) is C B ABC BAB and mplet·elgntl1 ilotesare exal'::t1ycorrect.6tH1sbhetop D is h€Hd~or 3 beats b p.iired by Ihe :5 pacia I cha ractter of WH~jctJrnposilf(m M(W!!!i P'1!Irtk. Op.ahhe "r~ con ajtp~r( ee ntinu es unW beat 40f maasu rEi 12 wn.fltmuO~I!:I el9hUI~ .ord~ If'i IWJ~~I. t"Id has .~ Andf1ntf) Hi e dolcs' fegEi.. 9.orrlim.inm~. thecomposer's w.vohledat ffle:a.th~ pedl.c10$an1d d6'Cr~BC~fldos M~ke su rs meMIJI-1~'$ 45·46 sOlllnd r. msaiS LJn~ a nswe r .a. and cn.O nd note Tn iswriter cO.iu rring (b eais ..s 1.u[liiirly r have tried to o:lwakeni n I:hem afeelmg fo. [).4 most baa lJiiflJl pte..w H\"lUerls meiTOl"Iome marking s(llh~t thE:! ma!M\! f.ff!E!cti\i~jy !fl pnirrllJr the .lct1oll ~nd $ief'J. ~/\ndal:lLi.1 T~ 15 ls S U re1Y'Dne ofthe ~II the s.. In orch!:rlhat my obj€ct maybe better aUa Ined.('mes.. Measures 9-12 continues ·..uieter th an the first part aTtne t~gur. Ihs. Ttl 9 Left h.Ges· in -8111 of opus .etc. 3 '1 . brought out} at measure 8 indicates th~ I $ft ha!1ld m~lody L'ito:be.jl'1 measure 30. A cascade ofsc:a~es in octiillVIP.. dela lis. Esc.MtlfCato (rnarked.8 Both han cis ha\fi!3 trowl no me led les.'1 ~28).[.r<er voices involv.n cou Iilterpoul t (me ['Cldy ag-~ Inst metody}.~6.macs are nail1d. This etude two-note slurs in tha 191thand ~hal support a rig ht h~nd 9 roup!ng of two rsrn f10tes wilt'1 t~e second 16rn I~ed to an eigh1~' fo. to the op~nill!gida21..~ hSi nds sepa rate Iy~ 110.r'ffiscef1.md takes over again at messure tri.1eS3S·a Gf'l3iS'mMrdu· d~Cr&fiGi&~).. P racL!c. II.y subtitle th ISpiE!ce "Pa r1'SfanBoat Scm g-: Th*·tl1irty~sa.~a ped indicates without ciosing (measure$ 2. It a ~!ii.pi~.. A llcgretto.0..:\. q. 47. 125.erme81slJII'e ~Nhj~e the elght:h-rlotes are p~ayed staccato.eSumes. Sen.$tJ re4!J.lry.:.rm con mote. beat4: DCn~"€lleft muslCal character of the piece Notice how the dyna..s ag e nt!y roc:kfng~bQ.:.otted eig IlthandthIr:ty-se!c. Shi(fll:a:f~itl. m€~ s LJif1. the right hand resurneeat measure 27 and fa beglns.1p both students and amateu rs to performs pveoe with the exp resslo n. 47.i. Both ha I'la s getml5 treatme nt-at mea 5l... sixteent.:l'5Ufe. a little fasts 'lh.R.ref1. Tn i s ooa.al melody in lhe ten Ci r voice while the bass a!"it! SlOop ra no votoes. c. the me lo. ~ask ~e3ctJ ers liO ~'I"ISlm~ U. I have aimed a L a tOi:iliijy different object ~ Wf. Andantino. llo~.rig ht han d \1'Il'~th Il:Sco. Th~s lexceltent study maif1lyFe~lures rnelodyMd9ccompOlnj~ mel'll fn the ng hotha rid..I'feS." r9t1iur6l& whkh m~iod}' makes the mejody appea '" measure 1:3·sounds rOI1 me fi rst and tast sixtee nth sCi the no~e$.s.losing'.'§.to {gently a~d GOFllle.M tha I. PBdal SMU Id be us€-d .€r q. grace.oking cha(.s 15 16.@ fitg-alri ~nd porflltQ ratn.::f¥rn the right hand will ta ke C1ill re detailed.e tthe (lOll b'e OQv.:ac:~ompanlm~ n1 B@:sure the s~:(leen. e .utiful ope~ing 7~8 (r:resce11do-.aack.Gi'. h me Iqdy 'goe-s its own unfque df rectlc n iI nd therwo is! ~ q U1M dis tl I1ct. vanous touches C So rneumes It Islhe 'fi rsta nd 'fourtli of th e slxhlle I1thg rou p.]f)(D. re!almg toeaeh of tl'llem.0.. Th fa dyna rn lc !'-. TS .: 1= quesllcn.y this opsnl ng 'drOll bl€nj.lol!s and r!CJit liKe me ngl1t 1l2!!"!.E)fl~anth in thearoup of fDLJr sh:teerrthl. Heller s~ii3te'5isempre legatt2 led 1181rlfd!ri6f. writi I1g a 59 ries of sh On' chsracterlstle pieces. t"!~lr and do~red half notes. 46~No. No.the most Qut. S.e.tI:tlctl:! r.ds to t~lerlnal cadence Follow 11'19varitlid dynamic plan c::amfuHy f!. Nn1:io@.! ooeedsadmrra'bty n'e re. ~(8CGato. . OllilH'i t he ~efl har! d I~ys rnsa surs 46.O pla~s. I fi! rneasu r~ -.Sil)feS 25-30 wMr. ~aj{es Olver the melody In meesures (4th beat) and a1111051 stanf y changilii ~r mak~.1 res 17-22_ The treatment b€Gomes mQre ir..lI\'eS 9~1)5.n1>L~ right 'I1~lI1d 16th~ a ev.Gtmd !lote in thFS opening {measures f-B.::::::::' _ :~ _.S:and tel1lhs leolll.:and TI. oi i~sel'~.

lromen.s a Ihama~ion of handsi n si m i lar tOUGh es {staGG. 19.iate Iy ronU'flIJe. 01'. tc Thlsrines111dy prev ides Bx. 47.alo.['I the following right hand chords.e indicated in . r.BO<34 .6-30 iii nd 35~36' M eaSL.:2 dnd 3-4 5-6 and 7 €lte ~ staoc-ato follow~(I by legato Measun?l:l\'i 9~1' ~nd 13.x:ar:Hy w rler.(l!ll~ and so no ritard st'10uld Ib~ afkJwed A light [owen is calledrtn Hi rrl~~t or tV'le plf. No .stth rs. ~t WQu~d more ~nte resH~g for th~ audir. I sectlrQ 15'a gradual blUi Id·up to mea sure .a!'l[€rrrlS Cor.wl"ldos in n1e. Op.lfJC(~Il~rando !"nigh! bE'l.3. j~5 ~o . Poirrt o!. 125.mea5JU res 1-3.ugl1 the hig D minor chord in measure 46 P racnoe msasu (1~S 1 a <11r1 ~ 25'!>e par...ce llent apPQrtL.ed eig!'~h$and tl'lirlY~M.1.ed lefth and me~ody wl!! le til e rig ht ha nd accornparurnent LlS'®::S the sa me pat!:em I. be." M~ kel the ~ine as srneem rry conneetec a i posiS'Tb Ie w 11s it l. The character IS very 1I p.iC~k:rf'! res scala r passag es p~J u~~Efcl win'! mE!lody :1i1.melOd V i 11 ~he left ht!:!id! acco mpan I~ r 111'li!!nt i. not rtkc' the third part of atriptst. Measu res :3 0<33 form a 1 J 6.111measures 2.Ii~ left hill'nd ~CC~lltoo h~lf notes .egarf')'i n both h'af1dos.Hl....5 nu~ plea! tll.ana 35 arri\t"8 a~the. Moderato.2.g.5 T" is "Sh adow Dance" 'study feature.:veen tl1e haMlds must 'be completely smqothi wltih no brea k in S'O LInd wh. ~ 25. If1 these sa me mess lIr€lS be -Slife to le-an U1~ ho..etc.. 1251 No.Op. '[In POC~) vi vo.c:t 1I.2~ r rQIIOWed by <iI.r tempo.Uand mtilir1l t''lIEi! frhro.I'ritHS a ma10 dft: If nE! beg rnn i rlgi n the ~eft hand i mmed.blllr~ kre€p m€as!. 5-6 turn in to 8th notes when the ~ett 11andhasth~s mel.e prece.and has ne iN petterns.Jt the G~$cefldo i n mf!~~H.31:50 depends erFl dynamic contrast for much r ntem-st TIh. No pedal should be usee uniesase Irndlcste'Ci 111 . Op_t25. .oy tattle I"rgrrt as ttl E!' mu 51C ehm bs lriltothe up per P:.a nd 5'~~56 A!:II$U re <'lI. 11~· 2442-45~ as well as tor the left hand to have U.ing control co. 15. N once U1!~' ViW'J marking at measure 17 fdJowe..gg lBe sura 1 the Cho rd ill rneasu re 87 and I..$'CSndos.81 IrHl1. measu re 141.Irt oftJ!'le keyooard Remem.p s. f 1:1 nd back) un m~aSLJ res 1~2:0 a..iif~flJ Hy til. Make the me 5 t of til e l on beElt.en the me. moroie II !.~~~ lo eig nth s fo tlowsdl by eighttl rests ~n h'el. pls'j'fully.~@ 0: Immed~ately by the su ddetrl QFOP to' p_ T h'e cre.::teentl1 and (W-Slr'ter I'! 0 tes to the rhy tlh rniou ndin measu re 1~2 and 5-6. More €lmpha:ii!~ !lihQlJlldbe 5hiJ'tedilo 1:.miment (measures 1-. Keep the tern pc ve ry s~ead:yall lliieway ~o 't he end..38.rl'llte. 1O~14 .28 and 31-32. Eac~ sf Tn meas:ures 2. ~~1:S Mess u:re ? i ~24 in trod UCBS E1 pron o'unc. Notice the notes in P?lJfflntheses in measures 19. NoHce the arpeggio '0 ~h'efMa I secnon. N' .l1iady).:n C~ 1fth e ph. Afl.:'ce. BregInning in me-as u re 9 androUoWi rig·..d I n9 piece. The e5pre~sil."15 add sli.as in 'rne(il~ LI re ~ i. Ibe leJ. li!lind r s i m lIarly In mea s Lire 6. .29. dQlIb~e dOll.38-40. .lh is C·'(.proStSlVG Ind~c~tlon far the left hand a~maasu roe25 also s ug g~sts tli i s section (th rO!.a. ~'.3-.Jn~ty fo rthe rig ht 11 and to' pla~ barth me~ody and aCGomp. rreasu res 21-26 In the p rece..ie 64 betwee n beats 1 and 2.ll'e& 3~-3:3 {b~\at"S 1. \I e ry sligh! bre SIk l n Ihe SClUncj OCiC~JrS if'! mea S\.stJres 21 an d 23 must a rriv@at aboLit 8: r lev@'1 IrOnC!I. No'_ 4_ If N·c'.rFe8 13~14 that arrives at a r In measures 15-16.he low octave A ~nmeasure Sf! ~re sL:lddel1~YqUiet alter the.36 whjthsho uld be n 1=lrleMt ff.oJut-o (IYI®~sur("l73) means rlso'lute.cgro "'I. S LIddell drop to p 011boot 3' of meesu re 33.: ely n-a:micaIly a net SlJiQ d e Illy to ~he pin measu rc 83 P8:rt ap-s . .7 12.':!tely ~o make.d by the ri.26 is gmduarly mo Fe the n flhe last one.:3of mea 5 ure .' ~.ghthan d Th~~.'. A diuel eneclb-eto'M'~HiHl t~e ~.lIl trast The B sectiQn . Mcderato.tady rrmVe'$ from 0 rle nail d to the other..e. Op.eloo yol!l d~ffen~nt places.sf In measure 8:5..0l1nd 55_are the 8am~: !et 1:h'e!'r'ig hand p~ay tn E! m 810th:sJ b~tl:er ht vQir.Both hands have ago at~he m. tr~ Il'8fer of U'le rTiI~log Hne ie oe t:. tha. r'\Io. 16~18. In rileMUfes 25.e righU.. 3 OiIfld tl duplel's conlrasted Wlth tr~ple'rG. ~. "vlvace~. 50-5. Take a hUliljrTIOre bme w~~hmeesurss 15' (dot('"6)~1a. No.~k.ngestIEl'ote! il1 the meaBum's irnm@{]fately follt1wing them._ ~ All .l11 i!HlI cl~ar A8A d€)..er measure 82 drop bac!. The .!Is.gato chords mat use Interesting dynamics" vJhil:e the B E.ody rn measures 20.. 5.J think "The }wala nehe' is a goad titleror ttus piece? I f not whai IrHe WCI uiC!iy. A~~ 7-56}.su re thl8 fll1germgs iii re secu re. Sick ln lampc in ~Itrneas ure . 2.8.27. ctleerlul mou:d. Allegretto pOGo agitate.aSS2!f1dUle top 'Voice s!1ouJdb~' neatrtj In measures 34· :I6 . a no 5'-7 ·so the t. stro. oJInd29-32.lnbe-exelrted overl:he finall no'lce oftM phras.s 2.~d 3:1'-55.ClUM in measu res 1-2.lo mawking at measu re 34 means a IiUtle rut]ato snoutwl be usM in thisM:l31 secti.8: til ls pair! ts u p tt1~ en d of 'M''!€! p hraSi~_ Pd3. 41 6.at and c:ihee~rfu Be -sure the ped~1 i$ released L e. Heller '. 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 ~.GIJ slJgg e~. and 41.sij~Jn {A""meaSWEl:s '~20.·th p tee€' IS to be played with Is rnoho~ {!l1G\J''-3tnent} end F.. raoceffl7r:.. measure-s 34-41.mics..0 p.n1st wau IL Q~ exag ge. This enb~e B sig. 3'3.3·1. scherzando.llne r.s nlJ PlI'I erous te rnpo cha ng as used th rougho lit tf.ot eugh th 5 P Ius 'rests.d by two and one-quarter r'n~asur~s of censts flit aig t.~rm {s!. II 7.che(zan(}o.y to pe. T11~lilll?il octave A in measure 56 :should b:e pp.A section s fccu ses on expre 551ve rs.s:f (n"leasure 42) refers to dyna.e ores. this piece' wm be 8as. 2 Thts piece is writtt.u9ge.orl.ram"fers b€l1weM ttl e h~mos .lIC1i~ed tarms (l. ~ ci featu net chordel accom pan i rnent Be sure til e dyns:mIc 1'1 IS weH Sin contraste-d (p to. so no m eaeures 19 -2"5.Jg h meals um 37) "light be' slightly rF. no.. 4 wa. 4. Con mote.:t? Why? III lil'')il'<ilsures: i.sun~s 15-30 uses ccnstsnt left hand eighthswhlle U.nid:s Or! figur€!s used ~nnos.7.eS M-.. Mea.7 The ~talij.n ~Q r rne rigN 1~ ~nd i 0 me" sun'S!34 Mea$ures34~41 <l1J~e <3 ~most the' sa me as.6~37 arid 46) IBe sure 16ths are played exactly correct. No~ice how the '16lh notes in rneasu res 11 3.j1e-ard at me8!3ur.1 res 22~26 IBatu I'e 1.!. Or..ght har1o.J46) and co l''IItrastl11g touches (staccJ rbl--/ogato meas ures 5-6. Take a liUlili more time ~jJr. PerrJenrio.(') ffUJSSO) ill measures 13·it.! ca:rBfully.s Ie-arner.rfe. Observe B"'21-36.e me~ody (nleasu!'e.mdo $ho~lld begin here.ond n CI tes and con trasreci dyru'!rfllcs Con tra~t 111o IJcl1es ls 'found t s!'lla[1Ibrjdgl: ]4. Do yOI.Ianch e.'.

Be car.jl/ee!'1'the staccato ~lghUl (Dealt~) 1(1 measure . then No. 8. mainly In No. and 36 m s. 11 agai n. 11. Op. a slightly different effect 3S ccrnpareo to holdil1g heard ill measures '27-29. 10. 12. dot.:.4 .t~d half notes fQllowed . beat m'l. t't10 damper peda.and in measures character throughout the piece.ls1-3 evsntho ugl.5-7. accorncanlment In Ihe same hand Haller writes Ihe mere important I1ltol.in e.after this piece.. 12.ud The same thing ia. No. 34.gll'l measures 17 and 1'9 f staccaro. The rnelody in the left Mnd of measure 1 {A B C·sh~rp)I1.3943. Op . ~. Tha . h.dl Heller has carefully indicated me me lod lc Ii he transfer between hands with the cloUed lines.rFthand meascrs 26. '" 57-62·~C' (coda) =63·73. So play No.es "1 llegro vi 0.eworks wen in oonjun clla n with No 8. Allegretto.10 icing ina nu m ber of measeres.! c1~EHly derlneated in your mind .ial' BffeG to th!:]! so LJ nd Th is pi ec.c'1. He uer sug.guration m $cnlJbert's impr'omplu In A-flat. Th e Aaj l\VOsfGhords in measures 42·43 ~hClU~doundstronger s t anthe PIU fin measures 40-4 '1. indica es the left hand melody is to be marked.ato 'throughout 'it provides. A IiitUe rub« to shmdcJ bs" used In mess u res 36·38 at the ersprcssivo Indication. Be' sure . '16.=me:asures 1. Ma{TI(Jto. 4fl~ No..L! fJ and ps: Measures 25-26 (right hand) are to b-e pla. B 1 Part :1: Late ~ ~ ntermed ~ate Level ThIS charming plieca is a wondarf'lJl study using melodv d'~'CI. en L Vivace.45-47.do followed by a su doLlen Cly narrm: cn~lirI gew P Ui eGr measure 27. 10 on three basle ideas and a quick.) term at measures 12..rUed "The Spinning Top" for IlspinS 1(1 .etc.s.45-47.'49~~€i.tel1uto {ten.analysis WIll help T 20. Op.:ep the ~1'9h1t1-notes 119ht and 'tile rhylhmic: driv "I const 11't Dls'til"1guisih be'tl.. B. ~rl!!! and no pedal is to be Li$e.52 and 56 indicates 9 Iv i n9 those c fiords the i r fu II iiri1~ va lue. IS piece is oonenucied "ofliil. 60-61 Notke the use of portafo tc.:wn:at remmj9'ten~ of tnc 'fi. n1g hand ht in measures 23·24. A= 39-48. there are numerous sudden dYllam!c chanqes This piaca is 5 ful"l for Ihe pianist and s udlen eo 19. '11. 125.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.rJ-e:stG I:hs D In th e right hand chord of m easu re 2..eflll to dirnin~sl1lo 3 P O~1 l)tlai'1 of measure JJ and oJIOW limrnedJate Iy With the E (leta lore! r. 12. 'l4.ice.49. 30 and 3L Be sure ancbrinq out me accented notes in measures 15.7. 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. Tempo di marcia.gests playing No. 90 lNo 4.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.No 8) plus I'l"'IU contra sri fig fl9 uranon. do not rush off o(them too.J non-legato tou eh. Be ·aware of each N seclioncai mat. 3 to pin mea su re 24 5 hou Id be '!Ie ry dramatic. 57-58.! s mrneasure 35~39. his provides a clear ABA form (A:::No 7.t be aruculatsd very cl.8 Ile~ler Ii kes tJi i s d y narni G con lrast and it I"le~ps. ] 1 The triplet sixteenth nota figuralion Is SOI11(. J 2~. a l'in~ contrast with !No 12' (tile Mid pieep. .quarl.22. and 53...20.early The sarna tl"ling sholJtd happen to Ihl'! E.l .. below} tells you in measure 1].Jng No 7 It prod uces a c lea r ABA form 2a.ssq tempo tells us this piece is to be pia y 00 in the .'U"e!melody (top voic~) D·E-F ls c}earI~ eac' q Jlllter note Its rull value. 10.crealer -spJay'FuI' ri9'h~h.8 and t en r€:pei:!1l1Q NO. 18. 2'1' arid 23 which are to be playe.ili measures 9. place it in propel" perspective' A.11s depressed. No. se sure ti1.by !vila rl'le·arStJfie~· of a dOI'tCld quarter . P~ay lnG lef!: hand staccato as Indioz:ued In rneasu r.arfl . 41 43.. Op. Op.:sure the right hand stays under the lett hand m measures 17 'and 19 This is Wll~1 the i'erm satto (unctl3r. L' istesso tempo" Op. '20. 8.erlal wne nit retu rns. The mekJdy In measures 21-24 beg'ins in the left hand a t measure 22 an d.~r EV~i)llhmg r e~ds t(. Trns ptece features nroken-ehord flgllrablon with ~reqLlent Itlur1~t~·und"f:'r usage. 125 No"n 2 L'ls'fr. 125 No.he F ..·9~16: Al = 17-20j C == 21·38.ama temp-o as No. but not as short as slaccato.and '[her'! repsa1.contln ues In the top vo. th is prod uces an ABA deslg n. 3 an d . In fact. The dlmenuendo at measure 'j 1 (b e:ats 1 an d :2) SMlJ to bill' g yomJ back to mHo r beats.smHS :30·3.lghtn arid ..yad t:f'?! Wit no <1 es(:8 n.!.2 be sure t~. The tern co { j -60) remamsthesamein boll iee. Ttl is is . '~1 . 'N@. to be' dry and S 10.ruch . 36 Sind 46: this adds a 'Spar.and ear The tv left nano part of m eaSlJres 2. SUO~l as 8. and ~ han No. Be. depressed when staccato chords are playf'A in measures . 11 Ev~rythil'lg seems.tor U1 is pe of me lad l... seen at measures 22 and 30. 22. AIlcgrctto. 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. and measu ss 39-40 should be quite a surprise.easlily be: t. 16. No '11 is mainly le9. right hand meaS ures 27-28 etc.~ whk:tl is.elop voice IS heard over (he accompan)lfi1g chores Heillflr sLJQlgests playing No 7.. 13.e pedal is. Thl::l !5<equnce s control. 4 and d i mini sohas J nd lcatad Th I5 prov I es a t:ug contra st NI [1'1 measures.Op 125.sarp and A in th It! rest oJ th e chorn Haller uses Ihe aoue line . '30 and 32 Follow tf1e dynamics exactly as indicated in measures 35-40. 4..Iteanths in ~hQother measures. andI49-5'1. 46 No. then No.8. . . ~8. 17-19. . The sudden dro p from pm rat rn e<8SlIres 2.'8 rn tar from the lmginning 1'0 U'H~ [nUL The main «ieas are to Ik>. this gives. Move back to a tempo at measures 39 forw. soon.i be srnolflly COl'lnac:1 d Add aboul one olher beat t_ ~ e f0(matD In measure ~G..and rneasu res 1~H 5.B:.4. Op. : 3. Heller :sug'gests reoeahng No.2 anti the si. 2a. be.1.\.pplies to measures . KE!ep th s' arpeggia ted chords short and dry (secco) in measures 1~3.or b ought out.7 Thjs piece could .

'Me1ochc In~'1uest is focUi~edmalnly H en theleJt handlntrus pl®ce. TI1e tinal cres.ll. Op._ Begin the "halrpln' crescendo in measure 23 about mp The sudden dynamic chang.::::: . No.. No. 4:'). M easu fes 23~26 .. editor su.20 (beat 3) -3.u ~es 3:2· 34.:rl~1E-fl~1 0 9.r~s 1O~M. 4-5. In measures 35··37 slio. A crescen d 0 at me<3JstJre 14 (Of t11 left.e . Andante.. 45~ No. Andante placida. 7. the e j h if.i~crdic through to U1 ril en din measore $.learly heard. rneliQd y in me·S'5 G one.. HeHer Shift's e d Iead:s to a. terri po at. !3 ill thennsl enore.~ mUe air space cleaR' thescwnd. measures O~ne.. ·suMo (5 udd en} p m measu re 15 for Dotona r'Jid 5. ThlS.lightiy dtHe renl effoct i:n an whe nth:e !efl alwa)i's. Op. and -dofcG (litera Ily means sweelly • b. rig 1"11a nd m!!llody wU hIM 1~:fI ~ J1 h~ 11 d chords. hS'li1 ".steady tem~o). Show phrase en d 11195 such as rn rneasu res 14-15.g:ht hand' In mess ~vrl¥J$2 ..s .2-3~15.!"lg style) piece IS o:lll·e:iill Thi s qwet rusn tng piec~ usesa n umber or left Mnd cro$S~rI s g al.shOIJId .ale. e ru TI'1Ei m~lody ~ltl~lts:to tnt lOp voice In meas~rf. (one outsts rI{.ct~y between ttl e second and tl1htl stronger th s n the 6:000m pan ~m. etc. A i~I!::grdlo. calm) .'''' e3.of the phn..V back. !he way h e' II Siers dynan'1 iet! obse rvs careru 11':1' hii:m'P1I1( .animetlt with the re~9alted aighth no~e.c~ thelefl: tlandbv8r·hl'I e: rig t"d"tl a rID for Uw.(jiJs some le. Be ca refu I hJ 0 bseru ~he left Mnd dffrrerHi(!ii!d~r in mea 8U re31 til at Iead"s 1.ll he perJectedtha~ in te rest.QrteF'llll1g the ffl'lla~ nets-values of the last note .uf6ssivo) tt1at~eacH~ ritard iF! me~5ures 29-30.a1M rpSike -theri1 und~ r to the ~i$tenoeF Beg i n til t "l tempo ground p lor lh e left han d.23 4. ~ Is req L. 21 Helleri!> a~Ni3y~ interested if! writing iF) beeutiflJI r11¢IQdy and lFlis piece snows how we.u I.l:mic.51taccato.le~e time value. mea s..amid farth betwe.ier the right hand Whe n til i S OOCU rs.ing tne rn-elody 1nottavE:'s plus part: of the ·ac:cmnp.17-19..l : 981"n. e 7. 7..ml1fl1'lF.tf1etr~f9re-lhey' rnus l be fa nearc above me ngtit hand acccrnoarument ail~ ~JSQ ln maasurH's..6·. TJ"i edltol'" stlgge's~s. \l\Ilth tile Observ. Ih~ n kieep U'li1! tempo 8te~ dy to thi.ib!J.e 'the repealed eighth no~~e .~e UOl8$ their comp." niment. 21:~22. sO\ioiceth~melorjy mea~u~e's 2.s. slllalr·dimem.~a:i>!Jes 411 61T:ld42 FDJ IQ'!.0 a p uri rn~~Itf. 5h. Hiell'er'. P~21.t!her:e·fsre do no~take a tempo that will ~al1d js p. It is 81 Qoodide~ to p !1lIct~Ct1l.'9 63-66 (iuberto). Andanti no. writer Iikas ~Q tra ns late it as . open i ng d ireclio 11~ ~ell LIS at good dea~ -il bou ~the Chili raoter q iii it k.<51 th f)cnty two ill BaS'LII'i\'I:!l.dal~ t~ is :9iveser s.08 rts of ~ih r~ght ha:M tlripl ets nt. Dy nam Ie level s th. Op. t!'anq u. 471 No. 1 0 12.md .'S p_Bfil su re thra I~ft ha rid 16th notes In 1-16' D E-ftiiltA E. ten_(tenu ~1f"e. 13 nd g. Retllrn to the open!ng -a tl'le'fil1eloo.en har'tdsin measU. rlleaSI!.oy 6... No.!l'.e19. tlll30n add Ihe rig:l.ollow the p€!dal Indications carefully.l(S 17-22_ Heiler a.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. b softer than the meriDdy 10.strong a Ild dedshl8 (deci:sa) witt:! Ul~ climax in meaSlln!i! 26 RBla. 15 . mOIl e iJ~~etin p mffirorl1 rneasu B3!l '·25.1 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. 01_ tf#71PO al measures 1 'f. octave UP~ 36 gQe$ Nom q u·srier note G to qu a"rter on ate IF.sta.Ll1d le~d to a .e carefLilly the ritEn.rliit notes: (me. 46~ No. Gradually r1tard from beat 3 ofmleiElSlIHH37 to the ehid of messu re 68. Add at least one beat to the NMI d"tOli'd fior tne i"em7ata ( t"':\ }_.7 Here we have t?1 e rig lilt han d pilay.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:.. 9~15. 12. No .ythe left: hand . be :8IjJr~ ..f() me IGdy d wrung the oth ~ r meaSttr~.J Ired in rou 9 hou t. Ob~er.. Andante con mote.etc.arl!d 20 Which add roueh mUSical ilntBrest.IQO high ~vB..30 an d 32111 is GO un lerpoinlsil 0 uJd. Op. move U.O"uUhe m. s._ ·16. No ped:al S\':101Uld e.! 26 an d res ? 8.11.'ar.imp:3. 9'"1 '1.ft 111BFidrhythtrn~c COl.I ha ndaeeo rnp~ nil'.] 25. i 7 • 15 18.0swan tM' ['Ogata melo. Or.7 28 fall eX.eard.at~:rtout.5g0Qrj m elod lc prolec!1 on and 9..be .s.layed legatcL Obs~rve tne-difff. Allegretto con moto. a is-.. be e:aisjly h.mrG r~v.'" 4\9 and .II..each man d: meas ur'€:&1-13 mffcwlhe rigih t hand .!\. HeUer h"Isf. Ttl e lelf! hand le<1.s.renO'obetween the -final MO E:~tlrd~.dy at rneasu res 1-9.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 . 01".ure 31.e~ ~._ . 47.. This lQ'vely Cfiml/. mU~IGrt21!lfran 5I!.~ ~ ) dy narn Ic.19. p. Observe caretu'lly th e "h a Irpin" dy l1am~cs In measu res.6...' th~ r !!I@.r 'the ~ig~t hand-Inis wasted motion co'u~dmake yO\ir (placl d.g€mI i y.!nterpOI nt w Itll Ihe fi:.d.slngl. etc.13-1.a.e·'ln measure 26 she U Id be ve r"j effective.1t~$ Has "tENlderly com mltted") . 17 .eand' ~'i terting .bEl brougtH 8 o~'l shgtl'ltly. marked r.! ell d otthe piece.~f~lMe~· _N:'..eel"ldo e ~igtlor. The syncopabed at. ett~) m IJst pe. 10. left ha no late a rlflvir! 9 On i~s Ind IGated note. as tndtc. · Iir1€c B r~alC IJ. used Inth'lS piece.4.44 -45 F E ·:n~li(. and . the righl hand h as the ~eg.un~ it ·~8 c. 24 Tile H3th m. A 90 od le~q.~Jod[c dyl'1.. The left: ha nd main Ily provides a haHli'lp~ tC .compammel'1t must alwavsbe .a. 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.i'.lIng aceented lett hand nares In measuress.ld ded much Ime rest wiU.gradu:9lly work:: l:lpllQ.ant dYllo.t rs :!Jlway:s we II~pl'[Jj'~Gt€ld N otioe th~ right 11:...QGato adc£.>: mealsu~~ 27<~8 {S's.. mark~ ings tor .. 47. Allegretto con moto.3miG'S{me~$ures 1-2.31·33 qu ieter (pPJ tbar'l [11 e 5. Bffn9.e len hc8i The. Take plenty oftlrTl€< In measures 4 ~-'15 Not!ce thlilaecentsm th 0 me-ladue: IIIF! e Sit 11i.~. Op.34 lo) On Ihe rrteiodk: Eli9 hth· notss in rneasu res 1 all d ·2~a re min de r to give th.

048 (·esprres.ndr. The word strfn9"6'I'JOO atmea~mTp-. The . Poco maes/'oso teWls.l. ..1·4 Ie ad i.etst{fto p to f') in ths's€ measures.i(}}.and melody In rneasu res 71.eganceJ pfovlce. o{$h::ong~y. Nn . 00 nol ritard Ihe .: 59 to the @!flO Be sure 8iril~ bring "fJU~ th e inne r right h.rn I he chord B. IS ~ won(jerfu I sl~Jdyfor dell 910ping 9 Fa ceflJ I faCilIty In c r'Ossu'lgtl1~' han rj s..f1g13. measures 4-7. ~sdirecnons must be followed exactly as marked h anc gral. atc should also be \~eI":'f strong a~d foroe'fU:l Boul'1ceoft lhe first of lila 8P::tasrrtJl-noia chords in o:r . the coda BI remro But pe.r played lighHy (i' f.~n=mely Import-an:t Op .Spr-eSSIIIC) With measures 23-. Tl19 PDCO riten-at measure 42 means M€2lsure 9 ii$the mostactive yelwitt112 sJx~eell!t:ls (f). Op..the r came fro rn Bohemt.~sujjfil's. 17 VIVO means lively'.'!i'!ld 'Were '01\. No. el.. 125. nands un d. 15 '50.Qiunalike . con moto. i. the n1@IQljy to be IBmphas!~~d maasu res 41 .r place.{jgfen.2'6.4 Q.ely T his wn~e. 22 Til rs ~ne piece J rneasu Fe 49~50 shou I.:sVvo) E ~lnd G M~.a'r Ihan the resl of tlu~ chord.Idd.lc(X:uuPfjgu If. C hora.-flet AA!st) and ~ l(jmpo at measure 49. 12.ne preparation S.J e.a:n:q uil.u:s.U res 55. an ~m sted and th IS seernste b~ ./a (with grace...f. save thatformeasm:e::.:.17~1i3i_ A·. flle:sf ChQfQS in mea sures 1-4.'Qf rneasu re :3 i ~1f1d reate thEH:t'lord irS to .24 should crescendo tothe fin rneasura 25 Takea litHe more tlme with measures 4S. No . When the m tnree groups @rrOUfSfXlsE. Til Ei correct use of til e pedal ~s~)(..8 • I = C~ 1:'2 .loil1w'ted} ipeda. Allegretto.10 11.1at the comm€i 5 Itil mr::l~'5 res "8 and 36.I n echo oHn's repeate-d f chords. Take a liUle U SLJggesl.rEls (s:ixleenths.jo In me.~ '1111'3 ay ~D the L~nd end do.7~ dr~cts the p~anlst to get qUHElter all the w~y to t~le rand witl'! 12.! ·. hand top note rnl1!lpdy In me.eslsa crsscen do i1'1 meas ures13. Vi YO.~ legreuo vi vo con grH\jlJi::I.franqui!to (t~. mQJ'~ bfl'liffil (!Ol.yedf withruu::e.~igt)UJ'f:a~t} combined with vivo rl~vely. eighth and quader) plus.·42 leads to. no ri ta rd. COUliit measun::: orte slOVli'ly sh Qulds. The p repeated chprds dir(.idion far this der.24-30 (firsl be1i. Me:aS~'re:s 1 (l Introdu ne hand cro~s~.J r.h'e th ree ly ~s ·Qf notenow nay·i!i! oct.1ls!.-15.2. C'(l:rP torza teUsl.'~ngs·.ly) at meEl~~ra 44 tells ttl ~ plan ~sl to getqu~e~err~11 t. Heller's: piece provides a fi.JhOUikj 9'Elt a Uttle slower in measures 42-44 and Ihei1 by ~ drop of dynamic levels in msasure 10 10 a p.utDilCl {r.ggiaf€id chord':. 2'0 Ineans to hurry Hlfl tempo (g Ell fastef~Thls contil"!ues to measure 2.sf camo t)~mpff...· . 45 ~ 1.) A quick si~~noefil.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. 125.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. Wi"ut:11IS to tie p[ay 8 its eig 11th note C and relesses III immedlla!.asure 12 shifts to '~heC .beg in n i ngliQ l rnee sure ® 'I he hand c ressm g!ll eonnn ue Wit!. measures 23-.:slm~.!fla1: IEG.i. only to be followed by a s. hi! fact.~hElbonarn note ot the C E G cho Fa ~.ightful piece. calm) mea:1l.3irpt.a.r10 rtttes rermrnseem "Pretude In C-si1srp Mi.aves.1. rOUOl..inal is called Deu:fsch .. Op.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.. This piece contains .the' tha racte rcf the piece i~ 8om~what maje:stic and srnte~y.eorstand th e aecu rate note value'S. 5" -M. No. and move on in n ieaau res 27 ~3(lElind55~59 P{IJrf:f(!:rJrJOs/ (mei!)s U re G.orme:credi ali possible.as in measures. notice that batil.ng to 1ti e h"l measure 15.Js the law oclave D's :and Fs tl1roughQul the p.~Op: 3. 45. LJ !"lIesS T n~~cai'ed otharwlse.58:.el'l) p and (ji9'Cfssoenc. Th~ ien (hold) Indications begirl'iI~ng in v8h.igl1th~IlQIWe chords.[lths each to m~ke$TJfe 10ll !c..stirringi 1~.73 (B-~at Bflat C [l~f18t C B.ier~ 0) re to be plill..Ir~ 1B (melody} go~s to the top G . G ~11ghH:.. A 'r1t~rd at 14.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..rdenr.hQul~J '-0 be n~art.lh'e sart:l'l9"rypes.g.9-12.~lJd:~' IOfl'le Famous Ra"h mard:rJoff p~ece. In measure 17. A.he chord in rneasul e 50 W'!~il~U'le ~enhand melo"CIyAlne! thr:l .JIWrme/'o} end lran sfErred between tile tlan cis (dy i!'lS ~W. Op.w(loclfllJe D's resume at measure: 3D. The ad i to r sug. ObSSN® car€fuJly on the follawfng dYl1amic the strong Clon1lr.aflefer belween the hands a~:"SrTloothily r.nrreasu re ~:3.dbe p~ayed wi lh lne. T ryto rna Ke ttH~ hne ~tr.. The lig'hl continue to pi ~jI' eveilly !fl this slower ~~ mpo lln~il the end. They spoke German.6 wh~re Ammalo (anirnatJil'd..:li). II'oI'eJy) tii'klll'iS-ever (measure 27} and contlnues tl'ltough Iille<il~ure40.'JeO you . BtJhmen (Gerrlian~B Q he'mla-l1s J'..~l.liportlFIg acco:mpa Ilkn~!1t. and landl'irmly go r.: in P'O:CQ maestoso.d!it IBd ~BJohemia n D a nee • He: Her's ffloth·e r an d fa. Le'-'lrl On ttl e om rot hand Ultimo to make the s{:l~Jnds!fflng. not ritam8~ w :suit! I~e rtght hand A careful dlstmctlon ITHJS'tbe made betw~n ~he ibroug hI ou~ continues to tl0ld I.~'chman:inofPs 13. 'etc.J.

.·.". ~-. - . -w ..3 2 oft .i..T :i. Ii .. - ~ '" 1. - J of .- ~~ --~- _..._ . .. .::a 1-11" -t----T--:! Jr. _j: "r..~. . .J. I I I .t.::.:://~ ..f I . ! . 25 I 1 _____ fj if . I25. u .!" "-_ I 1*/ I .-. I~ ../ ~...! 7' 11 n . I""! _-.:.'. ~ . -- "1... I. l~ ~ i . I. :-..::\I ~I .. •-__/...·~'m . ~..- ':'.. I : . ~ I#J. ~ '~ .. :._ I rJ AlleghJ vivace.-:-. ::.) ~ - Stephen lleller Op. ~ p ..-. .Io....:: 1:.._:.~' .-.~ I f ~ 1-" I espres. if·~ dl!r.trlo ~~ D ....' I II .ul Ro mianuc Etudes I ..... t~ ~ . . ~ j ':~ iil !:l . '7J .. - ./ - ..' . ... ~j-:a:-- ..11- ~ -.=: \~ :13 fl ".-..-:. ·. I~. =:.~7. . No.'. :'/~..._~~''''I.____L__ -10.~.. ../ .1 . 1- . f I I=J .&J . 7 :1 :--- -*J! ~ ...J 51 tJ - ~-. . r"'L.1' 'L .:... . f-::::. II ~ ~ __• ~i' .:. .. ~ -. (J~~Q. .::.~ -1- .• I I..L ft -:.j-cf . : ·iJ. " ..----::-..-- ~ ~ ~1Ii .~' ? .. .

~ rl-_l. ~..12 . .. .

:"'- ~I •• .. (J. con moto. .It llegr-eUo.'i!: . iii..HJO...) -~ _~_ ~ .

0" -. I - -:3 7..46. I -.' I .~ • • ~-.' . . -) ~.l'~j) ~i(\.j .. ':}" r . . I • 1:- .. ~ -. l' ".". No.I II I i i -I ---- r: . *: ..'fut j " '. • I • ~-~~...14 Stephen Hell~j~ 01'... . -.: ~ •~ .. .r~ ....~". ~~. .. 1 I j ...J\..~/I f . ...f j . F 1 ~ t} 1'1:-.~I. ~~ '.. " . .....r . 22 Assa! modera ~".. =»: .~ .Q. "" 15-~ Q" * -.} i I I . 'III ..- .' I·I!= J~:sl h-. !..~ I 3 .. 4' ~i0. \.

_~ ~\.-- .I .. -~ _ . • ~ ~.. " l _.!.i L. _ I-f. -~" _ _j:IIo' - 'tw.~ - j.. '~' ~ I 'Uil .L ' ~ '}--H 3 r1J.':':"f!: iH n .I~ I.. - .--. ~ --- - .15 Adagi()~ (~= 1 3.. ~ 6. ~ -til -II""'" ~ 3 + ~t iii· I J ""~ ~. ~press. . -J Stephen Heller Op..r-==r--j. ~ J W·__ I r: ."~~ '~ ·l--:::l-.. _~ ..• •. _.2 It " 7. 47) No~ 15 - _- .

' ~j 1 -.r tr-' . " ~I ~ ~ .' 'ritEm... I --. "R·r. • J - ] ~ ::--~... . .. '~ 4 i I . ~Tl...\I 't_l" i~ ~ .. ~...16 ~.. ~.. : _I S ... • . ~." r~'· #T __ I .. .~: _'_ 1 H~''---~'n . /'. 11 . ~~ . . -.. I ~..- ~ . . .... ... - fl ~ ~~... mullf' Mpress.._ .....p.. ~ -."" - ~ --.- #~ 1" - . ' 'It • ~~.'.... ~) .. .oI!II .r. J...~ .. ~ ~ '" . I -r--l-I~ . " I iIiI. • f!:.r: :t .' . l- . I I ~v pp . ' '_ -~ . .c:. .~ I < pt. .!.:". ~ - /J/J I -e 29 ~: ~)"'ILl ~..':' '" #r~ ~4 . ~ I~ + 4- - .--: . 'II ~ I .__ a· '_. /'1 ~_ <I ... . . f'O-}.~ I "$ ~~ • . ~ ~ .~ . . ~ fI'] . ._ .. t ~i - f· I~f I I .r" ~ . " ---. II 1 - 1 26 I ' -'... .

.."... I 'j . .. 47! No...11 Allc~v~et (~= SO... ~.p - " 'I I _¥ ii" II .) to.... t4 Stephen Heller Op. ..l " ~ ....

..B.. P~-~' .' m. ff •. . a - .______ .' I In' 1 I '~ ••. J_.' 6 . ._ "'.18 Stephen He]ler Op.. i ''''_ "I"='~' "R-r 4'.. • '.~~~~.' p :. f)JoI 1ol:t (j !!mpo .•. I~I·...4 _ '. • ..f.i)..!'fI .~fI' 1 1 l I I' ~ I '..'~~ I .::."..... '.. 1 . 'Ill ... '. .'!" *.-1 :'..• • . 8~ .i._ '....4 "_ j-". . '_ #." iLl p.. r '~~ • II " I II 'I I .. '. .4" !. ..~~.._."'~ --'.. I' 1 'I I == 1-1 I .~. ..~ _ ~ _'' lZ.. ..."".'. 1 . :. No.I ~"". ""! . ~ ~-~ ~ 4"7 ...]. 47./ 1 .

LJ:~\}. 1~~ .4 ~l fj...19 Stephen HeUer Op. . ~k . I ... :-I ·Xw... . ~ ~t"h ¥ "ftc. [25~ No. .

...' _~I I -. ---.·w' :..-"l ~----------r-------1 '------------ - --. 47.I.. I Ii I ~J-- r-T .1 '-------1 . I .ij-..-=--~ ~ " J~ t"'"-·"~i"·'-'" I . ~l ..:! 1 ~ \' 9 ~J .. 1!J r .r --- --..» I .-J .~-jj I I ..} i!!II' .-I '-------- 1 ..• ~I j ..'" .SCJJ'U1 -- Peri.~: t .I~ ..I So/""' ~ .J I .1___ ~ .. I ~l -- -i -:ar -.. H IV ""7lf ._ 'ILl ...i!I 1 3 ki ."fll_ i _. • I .._ ~ .. r -I ..O ~ M vivace.':l!-<l. "":-1 --- ' .-------------=~-::. ~-.---w-.t '~-'..- Q I 2 f. 1 ~... y._ -5-: --I . \ .-.. 11.-. -'...q_ ~_ .~ J. : fII--.. No.. I I . H I -=:=:::::: - I -I . \ (J=r ..-_.p. I -~""_ __..a: [-'if - :-:1 --- J~~ j~Nt.. .. P 1 ~ ...-' =s: --------~--------~~----. - '2f~-IL . - . I -~ -1 -Z---~~.~ . ' il!...___________'~. f[ . <} .8 ABSHi _fJ J.I ~ -. i ~ (.~ :~ I ...~ 1 \ I )~ ~-===::::::: i I ( : ..:--. ~J.~ 1\ ---1f--i!'.~ ' ..."'-...!-# (J -- J S ..~ :fii I . ._ o· ----. '12:_ Q I ~J...--. r-..... -~I~ • I.·.- ".20 Stephen l Ieller Op. -~ 32. 24 ! I ~"'C fo.

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.It. .:! ...---r. 11 tfll. ~. 6 t'I . .'... ..~. --II!!!. (j . 1-. ~£w. 125) No.1' .:-. .. ..7'. tell...~ '"-.' . - (f ::iI:~.- f . ...~ f •~~I -....~ . . ----1 ... . I .WJ/{UI ! .........). I~ J ~ ~ .. .. .. 'I --..- -.._ -r. -_tt -..' -f.1. ~. . - tJ[II< ~.~ liJ U' 'X~~)- fp "4 '!t...--. -.._ ----./1 1. ~. 11 .'1 -.~~...) 'l "I~' - Ii c.'! -------.et J ..34 Stephen Heller Op..~ ..ICl'li l\ I: -r~0. J I " .~! - . * I) .~' ----7'~..---.. ''/It.(.I_'I!" ml !iii! uuu. I 2~~ .1 7. ~ --. ~'" ...

..0..<I5J!!!!!!!!!!!!!!I .---..~ '1:}. ..i\.: -r_. . :. .....--~~ d . 125.... . [)(1 "~pq Nt. .~ .< ".~----._ & ~ -I-- I.. ~ fi.1 ..I :'~ ! ..35 Stephen Heller Op..l~ml1..~~ . ~ - ~ 1 - . - . 6!.Y '" ~ p ~~~ •. f ~- ...~- --.... mf. --=::~• . (. - 1 r. ..--------. ~-r- .1 J . ~ _..~ ._ l_ ... ~ "!'''1 " --.. . ~j--=._."" u . __. ---~- . No. li/. .~~~ti=~~. ~ II . :Co" ~. ~ 21 IJ-'"-l~ '7 'rg .I' 1-' . 11.d r---. . _~J.. c.esso P' ! '.... . .t I ~ .t -+-. ~ . ... I I . ~' 4 - ... ~ .. _I _...~~.. .-~ ~1. . ~ . '.. -~ I .-. ...'--* ~.~. . I .H ~ 18 .• -'" ____j ~. ~ ~ _A ...._.. . ~~ I :1~-iI'-.. . 12 r t~oJ I:£I't'r.. I .

' ~ 31 I r. -._ ... _' ...' I. I~ . -_ _..J J \ I---<=----!.:j [I -!...I 11-" . ... I' . • is ..• --:...' u. - . I • I.:. . I .:!.i_( t~~· t I~U-- . ~ .. .' .. \ I.. •• I ' .... • ! \A_ 'ij-. 1 ~ -t-.. 2: 14 . .. '" ..._ -....' I. " r. .L_:.. 1_ t ~.u ~~ I -r=1___j_ .' I .. • .36 ( >.. -__~ -. -~~ " ..~ ___l ~~ ~ " ..l!- f l! r' ._ .: .:. . . .. I ~' ..... 7"1' '~ Pk! . ''-. . I ." .. "I.~.. ~ r "1 L • :i: I._~ .". ' ...\ \[V)J·J. ~ ... L~..~ I". ...~ ... . ~~ . L 'J_. . I .T· I i ' (~:~: .... ~ 0r ~.' J..I... -r ----------~ t'.." . . If'... ~... . ~ ~ 1 ~ - 1. I • . . !I!'..) JoI 1 ..:t . • u.. .\ ~ •• * . 1f ~ j ~~f!... iii ' ft" . i<{ . '.' :J. . 1" • .... f ~j ..-'-'. . 7 'Ival~e 1)f0ii't) il...'.'.. . ~I .._____ •• -! I . I I .. • ~t---'" .. .-I' ~ .. ~- ~---. :) ..:. No.. . .. I.~ ~.. I' I..... ' .... . 46..qato 19" ~ ...' --_ r ~~'... 1 .. i ...~ I WII} ---"'~. - I .J.~~.. .' . .~ ..J. ¥ ''1' -{ . .. 1 (iIJ· Stephen Heller Op. _.-.._.-..... ~ - ...... - t . J. -0 . ~ '-' . . " I '.... -. I -----.

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~ ~. t: I II . -+ -I- ~ . a ji 1 I ~ .._". I .. 4. _I . .. Stephen Hd ler Op... .. ~ .. 46.38 Allegro vivo 4 :l (lil... .w _L I I . ~ .. . :c I j_"'" I -... ..J 811 ) 41. fl.. ... . -I: ~ " :?A It- ! ..-~.---~-~ .j! +- . _It cUm. ~ I~: I ~'~il~· - " __.. No.

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. t l ) ~J~ H ioC"--__ r - .-... .(!ido. ~ -." " -.. .. ~ II ...42 StephenHeller Op. ts Andlllnt.. ----~ ~_ r.. 1 -. . . -'-" .- i _. " .. .J _ " · ~'i I~· . oJ- ritard .'....' I . I -... LA .\ .... J J I -7·".-. __ ....I .. J I I I -- .2.~ _. .' ~I ~ I 1- _-.• -..•. " " '. .~ Ii -{- ~ I . 1 . .' ~ ..... • I_ ~~ - r" I I · -=r== • '.J • -J -.. I -1-- .. (J.~ • '-- . /1 - . i .. ... r I -.. .~. ~- . - a ~- ~l'lrl'Po V ..._________.~-.. _.... _ · _- -~ ~~"" " \~ "J 50 I iZ J J { { --=-P-I~ \ r: I -.mH~' r "_'.. I 1 .--::1. --" rT":~ I 1""""'T"'i.. f---k v .- I . '. ~ . J-.. I .' . · ---+-. ~ _. l '. .... .' -11-1. i .. -I I lI i• E.• • r" f I.. <l ' \.... . ~I: 1 .. f.-. X.•.~ - -1-. \ . ~ 1":"\ . (~ fJ 15 f~ I " :.... I _.. .01~ p .'.":. I " . .. ..'.~ - •• . I rnnrd . .:._. it ~ .~ I 1 ____ · ._---_ <>_ .~ _\ i I J' 3 I r" ~.....• I - -... __ t I ~ . :--·h-----r ....J I• 1 I r" .'. I25. ... 'I' I . " ..._. -...c )lht. .. ~ fiJ' I ) fI . No.. ~ c~. H . . I "'- . . .- ._ n". ..-. ... I . . -r+ ~ I J --~ i . '" i t.. II P I (J"Jb~p.

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'2 -- -. (J".. .J-: . •' -- ~.3 ~_ _ - Stephen HeUer Op. 45.i.fE.'!tllc ~p !&\ i\ " I .to ron IUO to. No. 7 45 Y'. ~ '"1 t ! -.4 131:". . .) ~' l.- AUf'rrrpt. .

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.8 .. I I 29 9' 'I .4.7 Stephen HeHer Op.. . Ii. 45" No. ' -j' - . _' . .

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No.--. 24 ~. 47. . ...~ .. r :.50 Stephen Heller Op.~ ~"~'-'_"~r .j~.f.it .

..11l . ~] _ .. li'.. . .WilI a poco cresc._~ .-i- r" ... ~-- . 1 . (.f I . ~ .. . " i ~ ..r.. .. I .... -<~~~. NO'.. . .. 51-rt nf!flU.~ ~ .~ !j'':ry... • I .' _il ~ ('l..l ! I Ito - •• -f.. I ]loco ... q.. ~-----. * ''''. II 'l' ----~.---IPlll .. l- .. = 1~8) a .-J.[!.... -J. 17 Vivo.•• P' ~~ (: '~l:."-~~: " e" _. -~~~~. . i'Ii '... •• :.f .•'_"- I~. 125....' ~~ . I ~ .> : f'"" r~.J .'_ :::iIII: r' ~f- r i . . {CD- ~: • -+ -..---------=--.'' ..51 Stephen I leller Op. .1(J .~.LCI. .::>.....

.) .1: i\rnimai.=-tI ' . ...y r:.~' . g' r..f.n .. ~ _'- i . ~. :l 0 .J "._ lit ·~l ~: i- . . ' ~ ' . ~-I----'-" (- : i• ritsrd .. _"'" s I} . . 'r ~~~ .1 t J .... . JI.. ~: . :.- ~6)o!'J.L_ T 1 • .yIr" ..52 2 itt~~ ~ a~ :L :' l-": ~. jl I . 0."' _i-:" ~! ~1 r..! ~j' B-..0/ I I ~ . ~ 1I r --.12' .. w I ..- - - .. S: ~ ! " .~... II__-q: \I~ . ~._. I PUl...: FJ' • t-- I .o I'..IiiiiiOI ~ J" -.bd~ ~ 2 & :-lo. n --.:.

~. .. .. eon J. ~.23 .1 l 8I ..\II pgreUo -- vivo.{:r"aza.= m.53 Stephen Heller Op.. 12S~No ...

. -f- -~" .} t -- -..~- I .. I -- .J '-'F .. ~b. 1 1.I ::p: 1 . 11O(JO a ..:'1' ~ I hen rl. r-------1V'F . .••.. I. l_-----. ~ ~ -1-' - -~ -j . I. b-~~ !:~' - '!' .------_.. U ~~----... I r-=.-1 1 '-_-".I ~ ~ r--. -~' - [ine .l- Y' .../ I: ._.)_ 0 Il 1.._. .a .. ----r-~ ~ . .~ ~ -..·~U~.."1 . 1 . .... \~j~ . •.. ri- ..~:.t~1 p _w_ r '3~1~1 -.'. ( \ ..Q.. '~' ...J! -if fJ -ffi1- l... ~ _L.f. laui£f' 19"~ I J°':'I"ll . 1.54 'li.- 67 I \ ."ft.. 7't<. l t: \'.' .. ' 4c.' ~.J. :.-r:~} -c l 1"'- V'"'.I---. \.~ .. 1 I' . ~~ ..t.-_-~ ..

. . .1... _l! 1) j' .t I 1 \ .• . . .. l * . E- I~ i " 'Xoo..... ... 15 'W ..' l~ . . l!:.. '" .I' . ~ ~ r-« .. II~~ -=I I~' . M !'.... '* .[._. *~~ I411 I I I ..~ .~ . . . " l. ':!" ~.. ..i Ii i III ~ ~.::.J -. fT . ~ " . I"'"" I i..::. . r- tt£ ~i ..Stephe n He ller Op. ... -_ --.. ·N • '- . ~ ..i. - • " ~ ~ I I .. . f F ~ .II... ~ ~ ... .y .or . .. No. i'I I 1:. I!!iI""""' ~. 8 It ..-JiI.~ ~.WlI ~ farm I - ~ . 45. . .

... '-. i d' I " . 'Ha. Ii:I"-.'•. . I "":.~ . . . Ir .2 ·!f ~..1'" r-_~ if ..~ -:iI rC'li....'! ¥3= ~ • JM I ' ...~ . .-.. - B '-1 . ~ - ." I if I !-:: 1--1r=.- ..~.$ I . :~8 _IJ llirJ IV ~ _:6.. ~'!' .. L~ _ _-' .~ I .... ~ .-I dJ f . 1- ...:. '~. I . .. .~.. ''''. -~ ~ 4 - . I I n ~ tJ s!' I ..~ I ~ I~..' _i .. i. vr ... ?:~ ~4 1-~ • I: • -.... <t! '"17!-=j.~i #': ..ut>'1\ #.--41 .11 @.. 0> .r :1 lot ." .. ....•• ••• ~ _III • tl 2- ...3 •\ . m.. /'f . . .. 3- • .~- I I '~.jli! ..... ... -~ ~... • '.~i1' ~"b.I'IJ 1 l -~.J .:... . i I .. - .. •• .' • II _ .. ~! .. .--~ .¥-.....__ - p A·~ '= ..I :_~ I ..' ~ ~.... ).._ -:'~.._.- . """iiI- .. . ~ _.~ "*" ..d... "~: -+ .. .. ~ ~.__"! l!f /' - k. I ..... jlo .. ¥ J . '"'.I... 1 I~: .. JI. • A. j 1_- .. .. ... ~I r'-. c' ~.. ~. . U r"" 'Xen ~ 'I! ~ .I IS ~ t ._--.'W.. I-'if -tJ!!_ . I I .. I . ~-----:~~: ... .} ~. r - . . • ~ 11:. .I-If ~ I • . -6i::= --<3" -_ L__I_ ~--I"" I ._ :l. .... ten.at I ~'l . _.. v~ .'...

.r...1.! ·fi~\.... d ".I! .. . * 'fu..I rr-~' " I . f .. 45" No..57 Stephen Heller Op. ' ~. 1Jf'()1I'f. •.. -.. ilill m.....~ :."~~.jl. a te-'fllpO /).: . ~~ ...I ..!. f. .~..s...UI')ji'~1 /(J "... .1'I '!1...0. ' .. ... '..r . " >' -~P/ ~ ' r 't!.""~. - 0i.. - • ..'it =It "Xw.) m ..s .. 'I . 22 Allegretto eon I' 11101. (J . JY=" . ~ -~ t '" j2. ..jJtJ.- *" ~ "t"" . ---~A I l. .

' {'i'I..I iI .:...'>c . 43 _tJ J .J '~ .CCQmPflgR. .. ~ . *. -'.L.. '] ] 1 '"1 . II'!!!! . -./ r 'f- . IffJ'fJiero ben ti. II (1..: j~ I J¢~: I . .. . I .11- ..-" . ~id).timprt I' I " :simile '- ' -.t!... ~. PT'(. . .58 '_ tr' ..:.JNiO:tt. -~ " r - y .- I . _._ I 4Y - -1.-!iI~:.1- dl '.. ./ - .' .i(l.. ~ '.lo $.

59 dim. . ~ pp ...

'thollen.es worldwide. and Mr. as well as collections of conlcmp. Cnopil1. Fran. He is th. SIC for Piano and Qrchestra. Haydn. Maurice Hinson Ms performed.60 .i. The Piall.e author of several bOOks in clu d i n9' GtJldB to 11r~ Pianists' . Decw. IRCdrtgo Schumann and Turina. 8rahms. G.Re<peo()ire.€! has.orary American mUSIC.Calx. HIIndern nh .edilivl18 01 works by Bar. 1 Bef.Q fli1 Chamber Ensemple. . lectured ana gwen master CIa~s.U'I M~ISiG Ta8'ClltlI' .retcnarunoff. published scholarly . 1'v1t. Mendefss:ohr Mozart Ravel.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.sy.Maur ice Hinson As one 01 America's most respected authoritues on Dlano hterature-. Liszt..

IllE.i lOS .

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