Publication: Paris, J. Maho, 1853

Dedication: Son ami Monsieur Clément Auffm Ordt

The original title of the German first edition, Blumen-, Frucht- und Dornenstücke (Flower, Fruit, and Thorn Pieces), is taken from the title of the long novel of the same name by the German writer Jean Paul (1763–1825) (commonly known as Siebenkäs, 1796–97). In France, it was published under the alternative title Nuits blanches (Sleepless Nights), likely because the novel was not yet known there (a comedy text titled Nuits blanches was published in Paris in 1847, but its relationship to Heller's work is currently unknown). Despite the suggestive titles, the German and French first editions do not have individual titles for each piece, and the connection to literary works is not necessarily explicit. Editions published in America after Heller's death (Schirmer, ca. 1899) include titles for each piece (Nos. 14 and 17 are titled 'Anguish' and 'Happiness' respectively), but it is unlikely that these originated from Heller.

No. 14: Più moderato e plaintivo, F minor

A piece in the style of a string ensemble. It possesses the most serious and dramatic content within the collection. The term plaintivo (lamenting), found in the tempo marking, is not originally an Italian word but a coinage from the French adjective plaintif. In 19th-century France, 'Italian' words, including plaintivo, were misused, having been created by analogy with French vocabulary; this practice was already criticized by French music critics at the time. The più preceding moderato means 'more' or 'further'. The point of comparison is not clear, but it is likely in relation to the tempo of No. 13, Allegretto (6/8, dotted quarter note = 76). The piece takes a compound ternary form, schematized as A (a-b-a') - B - A' (b-a') - Coda.

A (measures 1–24): a (measures 1–8) features a cello-solo-like theme. b (measures 9–16) is divided into two parts; in its latter half, repeatedly sounding diminished seventh chords in the high register and trills in the low register form a contrast. a returns immediately thereafter (a', measures 17–24).

B (measures 25–49): A new viola-like theme is introduced in the middle register (measures 26–32). This theme is repeated twice over a leaping left-hand accompaniment, and from measure 41, a melody in double stops forms a sequence.

A': a is omitted and the theme is recapitulated from the latter half of b (measure 50). In the recapitulation of a' starting from measure 54, a new melody is added to the uppermost voice, and a coda (measures 62–69) based on the B theme concludes the piece.

No. 17: Allegretto pastorale, B-flat major

The opening tempo marking suggests a pastoral genre. Pastoral scenes have long been a subject in art as a symbol of a simple spirit, and in 19th-century piano music, many works were written with titles such as 'Idylle,' 'Bergeries,' and 'Églogue,' referring to bucolic love poems. Heller also wrote works on such subjects from time to time.

The piece is structured in a ternary form.

A (measures 1–16): A descending sixteenth-note figure (motive a, measure 1) and a syncopated motive (motive b, measures 1–2) form an eight-measure theme.

B (measures 17–44): In contrast to the varied rhythms of A, a melody based on motive a and a new syncopated motive (a rhythmic diminution of motive b) (e.g., measures 19, 20) unfolds over a consistent sixteenth-note arpeggiated accompaniment. The section up to measure 30 forms one phrase, which is then repeated with variations (measures 31–44).

A' (measures 45–63): The theme returns, separated by a fermata. A is recapitulated almost identically, but during the theme's repetition, a change is observed with the right hand transposed up one octave and an enhanced sense of exaltation due to chord reinforcement.

The coda from measure 64 (measures 64–84) gradually transforms the accompaniment figure of B, building to a climax at measure 72, and then the piece quietly concludes.