Publication: Paris, Benacchi et Pescier, 1843

Dedication: Madame Jenny Montgolfier

Schubert's famous Lied, 'Die Forelle' (D 550). Heller spent a period in Vienna in the mid-1820s. In this city, he studied with C. Czerny (1791–1857), A. Halm (1789–1872), and C. M. v. Bocklet (1801–81). Bocklet, a close friend of Schubert, did not, however, appreciate Heller's talent as a composer. Nevertheless, it is possible that through him, Heller had the opportunity to gain a deep understanding of Schubert's works while the composer was still alive.

Even after moving to Paris in 1838, Heller remained mysteriously connected to Schubert's works. In 1842, Heinrich Schlesinger, a Berlin publisher (whose brother Maurice ran a publishing business in Paris), visited Paris and commissioned Heller to compose eight piano pieces based on Schubert's works. The following year, Heller completed powerful works based on four of Schubert's pieces: 'Die Forelle,' 'Erlkönig,' 'Die Post,' and 'Lob der Tränen' (Opp. 33–35; 'Lob der Tränen' was published without an opus number). Two years later, Richault in Paris published Schubert's Lieder with French translations, advertised as a 'complete edition.'

The original Lied, based on a poem by Ch. F. D. Schubart, depicts the emotional shift of a poet who, after pleasantly observing a lively trout swimming, becomes indignant upon witnessing the fish caught on a hook. The original meaning of 'Caprice' (French) is 'whim' or 'fickleness.' In the 19th century, it became established as a genre name for piano music, often given to pieces with free development and structure. This work, too, uses material from the original but is crafted into a unique and brilliant piano piece.

Structure and Analysis

The piece as a whole consists of an introduction, five sections, and a coda.

• Introduction (mm. 1–18)
• A (mm. 19–46)
• B (mm. 47–72)
• B’ (mm. 73–98)
• C (mm. 99–122)
• A’ (mm. 123–153)
• Coda (mm. 154–190)

Following the brilliant introduction, the main theme appears in the middle voice. In section A, the phrase from mm. 19–26 is repeated one more time than in the original, but otherwise, it presents the melody of the first stanza almost faithfully. The accompaniment, on the other hand, differs from the original, being replaced by continuous right-hand sixteenth notes.

Section B corresponds to the minor-key melody set to the third stanza of the poem; after repeating the original melody twice in the left hand for four measures, it deviates from the original, and a new motive appears in octaves in the left hand beneath brilliant right-hand arpeggios. It concludes on the tonic chord of F major at m. 69, and section B is brought to a close with a motive from the main theme.

B’ begins in E-flat minor and immediately modulates to B-flat minor. In section C, the melody shifts to the right hand, and a new variation of the theme emerges. The Lied's melody transforms into lyrical melodies in B-flat minor and D-flat major, concluding at m. 123, at which point the theme returns (A’). A’ presents the first stanza of the original in a thicker texture than in A, after which a climax (m. 153) is built from m. 142 towards the coda.

In the coda, the melody is formed in the uppermost voice, utilizing several motives from the theme. The piece concludes brilliantly with rapid arpeggiated chords played in octaves at a ƒƒ dynamic.