Publication: Paris, J. Maho, 1868

This title immediately brings to mind Schumann's work of the same name (Kinderszenen, Op. 15). Heller and Schumann never met, but they were bound by a strong epistolary relationship. Their correspondence dates back to 1835 when Heller was in Augsburg, and continued actively until 1839 after his move to Paris. Schumann, who sensed a kindred spirit in Heller's works, wrote in a letter in 1836 regarding Heller's early compositions: "It is as if I am playing my own works, though yours possess a silver gleam." Schumann eventually welcomed Heller into the writing staff of the Neue Zeitschrift für Musik (New Journal of Music), a music magazine edited by Schumann. In this magazine, musicians appeared under unique pseudonyms as part of the fictional artists' collective "Davidsbündler" (League of David), and Heller contributed under the name "Jeanquirit" (likely derived from a poem by the French writer Voltaire). After Schumann's death, Heller occasionally began to intentionally incorporate Schumann's style into his own works. In France, where Schumann was still largely unknown, Heller likely sought to draw the attention of Parisians to Schumann by preserving the memory of his deceased ally in his own compositions.

Kinderszenen, Op. 124, consisting of 10 pieces, was composed in the late 1860s, a period when Heller's reputation was firmly established. It serves as an homage to Schumann while also foreshadowing the sophistication of modern French character pieces that would lead to the generation of Chabrier and Debussy. Unlike Schumann's work, individual titles were not given to each piece.

No. 1 Andantino con molto espressione in A major

A song-like miniature that opens the collection. Though seemingly simple, delicate indications are meticulously notated throughout, including tempo (ritardando, ritenuto), dynamics (mf, f, diminuendo, rinforzando), and accents (e.g., measures 5-6) that encourage clear articulation. It is desirable to construct the performance by carefully considering the meaning of these indications.

No. 3 Allegro assai in D minor

A march-like miniature. The form can be schematized as follows: A (measures 1-18) – B (measures 19-56) – A' (measures 57-78) – B' (measures 79-108). Section A features a march rhythm, with fanfares sounding at the end of phrases. Section B is a variation of the A motif, with major seventh chords adding a modern and bright color. In the latter half, a bass accompaniment is added to the opening theme (e.g., measures 57-64), and new ideas (measures 65-70) are introduced. In B', the A motif alternates with the B motif (measures 79-86). The compositional technique of unifying the entire piece with limited motifs, even in a miniature, is a testament to Heller's mature skill.

No. 6 Andante quasi Allegro in G minor – G major

A nuanced miniature that evokes complex emotional shifts. It takes a ternary form: A (measures 1-14) – B (measures 15-31) – A' (measures 31-42). In section A, motifs that constitute section B are already presented. The ascending motif in measure 5 appears in a descending form in measure 15, and a varied form appears in the right hand in measure 22. In A', which also serves as a coda, the opening syncopated motif (right hand) and legato motif (left hand) reappear, concluding in the reassuring key of G major.