Hiller's ambitious work, Six Études en forme de Suites, Op. 15, published when the young composer was 22 during his stay in Paris, is a highly individual masterpiece. It happily combines the sonorous brilliance and colorful harmonies that Paris, at the forefront of industry and fashion, bestowed upon Hiller, with his inherent sense of scale and profound knowledge of classical music.

This work was dedicated to Giacomo Meyerbeer (1791-1864), the most influential grand opera composer in Europe at the time. Meyerbeer, who was himself an accomplished pianist in his youth, called Hiller 'Jupiter Rossini.' This was a tribute to Hiller as the incarnation in the piano world of Rossini, the supreme musician in Parisian musical circles, who was likened to the highest deity of Greek (Roman) mythology residing on Mount Olympus.

As indicated by its title, this collection of études consists of six suites. Études adopting such a structure are exceedingly rare. The 24 pieces are divided into six groups, but the number of pieces varies per suite, as shown below:

• Suite No. 1: Nos. 1-6 (6 pieces)
• Suite No. 2: Nos. 7-10 (4 pieces)
• Suite No. 3: Nos. 11-13 (3 pieces)
• Suite No. 4: Nos. 14-17 (4 pieces)
• Suite No. 5: Nos. 18-20 (3 pieces)
• Suite No. 6: Nos. 21-24 (4 pieces)

Each suite forms a loose coherence in terms of tonality, style, and form. For example, in Suites Nos. 2, 3, 4, and 6, the tonic of the opening and closing pieces of each suite is common, tonally framing the beginning and end of the suite (Suite No. 2: E-flat minor → E-flat major; Suite No. 3: C minor → C major; Suite No. 4: F-sharp major → F-sharp minor; Suite No. 6: B-flat minor → B-flat major).

From a stylistic perspective, Suites Nos. 1, 2, and 4, for instance, integrate innovative performance techniques within the musical language found in contemporary opera arias and piano music. Suite No. 3, on the other hand, adopts a Baroque appearance with a fugue (No. 12) and a classical dance, the gigue (No. 13). Suites Nos. 5 and 6 reveal the hidden madness, vivid flashes of inspiration, and experimental sounds within the seemingly conservative Hiller, along with the calm mastery that controls them. Since each suite possesses a distinct character, one cannot fully grasp the breadth of Hiller's imagination by listening to just one of them.

A kaleidoscope of styles from various composers appears in Hiller's études. While listening to this collection, one might be reminded of prominent senior Parisian pianists and composers like Kalkbrenner, or contemporaries such as Chopin, Alkan, Liszt, Rosenhain, Schumann, and even Brahms, who was born just in '33. However, this diversity cannot be explained solely by influence from other composers. Considering the publication date of 1834, many of Hiller's ideas, including his use of dissonance, actually predate those of his contemporaries. Possessing such diverse compositional and performance techniques and creativity in his early twenties, Hiller must have made a significant impact on the Parisian piano scene.