Publication: Paris, Maurice Schlesinger, 1846

Dedication: Son ami Lindsay Sloper

The etymology of the tarantella can be traced to Taranto, a town in the Puglia region of Southern Italy. Typically written in a rapid 6/8 meter, the tarantella was introduced into piano music in the 19th century and frequently composed, associated with a Southern European image. In Paris, the tarantella from Act 3 of D.F.E. Auber's (1782–1871) opera La Muette de Portici (premiered in 1828) gained renown, leading most contemporary pianists and composers to compose tarantellas thereafter. Heller was one of the composers who favored this genre, with at least seven numbered works bearing this title. This work is the first published and passionate concert piece among them.

This piece exhibits a sonata-like tonal structure in its thematic presentation and is divided into three parts, where diverse ideas are successively introduced.

Part 1 (Measures 1–214)

The main theme consists of two sections: A (measures 1–17) and B (measures 18–49). In A, Theme 1a, characterized by repeated staccato notes, is repeated twice. This Theme 1a reappears (A': measures 49–61) after Theme 1b (measures 18–25) is repeated three times, concluding with a short closing phrase (measures 61–64). From measure 65, two new large sections, C and D, appear, divided into four and three subsections respectively (C1: measures 65–89, C2: measures 89–96, C3: measures 97–104, C3': measures 105–146; D1: measures 146–164, D2: measures 165–197, Codetta: measures 197–214). From measure 105, inheriting the motif of C3, the tonality shifts to G major and C3' begins. C3' gradually builds on a D pedal point but temporarily subsides at measure 139, leading to the lively D1. In D2, dominated by the dominant, a climax is built (measure 197) by utilizing the motif of D1 (measure 153) while building in intensity. The codetta then moves back towards E minor, preparing for the recapitulation of A and B.

Part 2 (Measures 214–523)

This section is a kind of development section based on the use of previously presented material, and although complex, it can be schematized as follows: A'' (214–229) - B' (229–245) - B'' (245–289) - E (290–325) - F (326–405). First, A and B are recapitulated with variations (A'' and B'), after which B'' modulates to E major, and two new sections (E, F) are inserted. Here, the use of previously introduced motives is particularly prominent. The table below shows the motives that appear and their origins (numbers indicate measure numbers).

F, which shifts to 2/4 meter, functions as a transition to Part 3. It initially forms a brilliant ff cadenza (measures 354–366), but immediately subsides, interposing a meditative chorale (measures 373–385).

Part 3: The concluding section of the piece.

A''' (406–425) - C1' (425–441) - Transition (442–461) - A'''' (462–483) - Coda (484–523). First, A is recapitulated from measure 410 (A'''), and C1 from measure 425 (C1'). In A''', an augmented inversion of the motive from B' (measures 229–230) appears in the inner voices from measures 419–421.

From measure 477, A is varied using the closing phrase of A' (measures 61–64). A sudden pause on the double dominant (measure 483) is followed by the coda, grandly concluding the piece. L. Sloper (1826–87), to whom the piece is dedicated, was a British pianist and composer.