Heller, Stephen : Préludes pour M'lle Lili Op.119
Work Overview
First Publisher：Breitkopf
Dedicated to：Germer
Instrumentation：Piano Solo
Genre：prelude
Total Playing Time：33 min 30 sec
Copyright：Public Domain
Additional Notes：※ 『ステファン・ヘラー ピアノ曲集 I』（カワイ出版、2014）より出版社の許可を得て転載。 カワイ出版ONLINE:http://editionkawai.shop16.makeshop.jp/shopdetail/000000006072/
Commentary (1)
Author : Ueda, Yasushi
Last Updated: November 20, 2014
[Open]
Author : Ueda, Yasushi
Publication: Paris, J. Maho, 1867
Dedication: Mlle Lili
"Prelude" originally referred to pieces or actions for tuning or warming up fingers. By the early 19th century, it had evolved into an independent genre, taking the form of "prelude collections"—a compilation of very short pieces that could be described as a catalogue of ideas.
This work is Heller's third collection of preludes. Although technically straightforward, it contains 32 pieces that showcase Heller's mature satirical sense. Four pieces from this collection are included here. The identity of "Mlle Lili" is unknown, but given the work's level of difficulty, it is presumed she was a young student or the daughter of an acquaintance to whom Heller was indebted.
No. 4 Assai Lento, A minor
This short piece depicts operatic recitative. Measures 5-7 feature an orchestral-style accompaniment, and measures 12-19 introduce a lyrical passage. The key is to differentiate between the nuances of "spoken words" and "sung words," and to consciously separate the orchestral and vocal parts.
No. 14 Allegro Vivace, C-sharp minor
A hunting scene. The half notes in measure 2 are a typical horn motif. It appears that two or more horns are calling to each other from various parts of the forest. Indeed, the opening 4 measures marked f and measures 5-12 marked p represent a kind of sonic perspective; f should be interpreted as "near" rather than simply "loud," and p as "far." Note that "ritenuto" differs from "ritardando" (gradually slowing down) and means "to play at a restrained tempo." By creating contrasts in dynamics and tempo, the short piece evokes the vast expanse of a forest.
No. 21 Con Moto, G minor
At the beginning, arpeggios that seem to explore harmonic progressions demonstrate the improvisatory style characteristic of a prelude in its original sense. The broken chords in the opening 8 measures, grouped by beams into three notes, should be perceived with a 6/8 time feel, and thereafter with a 3/4 time feel. From measure 17, long notes reminiscent of bells appear within regular broken chords, a striking change. These notes should be clearly distinguished from the broken chords and emphasized with sharp accents.
No. 30 Allegro ma non troppo, F minor
The main motif in unison is characterized by strongly struck whole notes and pizzicato-like eighth notes, reminiscent of string instruments. This technique, where one finger holds a key while others move, was introduced into compositions since Clementi as an exercise for finger independence. Here, beyond the functional intent of finger independence, the motif's obsessive repetition creates a unique atmosphere.
Movements (32)
Allegretto scherzando Op.119-7
Total Performance Time: 0 min 30 sec
Andantino quasi allegretto Op.119-11
Total Performance Time: 1 min 00 sec
Allegreto con grazia Op.119-16
Total Performance Time: 1 min 30 sec
Allegretto con grazia Op.119-18
Total Performance Time: 1 min 00 sec
Allegro ma non troppo Op.119-23
Total Performance Time: 1 min 30 sec
Allegro caratteristico Op.119-27
Total Performance Time: 1 min 00 sec
Allegretto con espressione Op.119-28
Total Performance Time: 2 min 30 sec
Andantino quasi allegretto Op.119-29
Total Performance Time: 1 min 30 sec
Allegro ma non troppo Op.119-30
Total Performance Time: 1 min 00 sec
Allegretto poco animato Op.119-31
Total Performance Time: 1 min 00 sec
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Scores List (2)
Neil A. Kjos Music Company
Neil A. Kjos Music Company