Twenty-five Studies, Op. 47 (Kalmus Edition) [Paperback] Review

Heller had a bad habit of overdoing.#8 consists mostly of straight eighth notes played over a tonic drone.In #13, we get an overdose of the melody played in tenths.In #15, we get an overdose of triplets.

Harmonic devices do not work for Heller as they do for other composers.Relative minor chords and arpeggios (#6) sound ethereal in the work of other composers, but not here.Bagpipe drones (#11) bring quaint rustic images in the work of other composers, but not here. Augmented sixths (#10, #16) and diminished sevenths (#16, #19) sound pungent in the work of other composers, but Heller fails to prepare and resolve these dissonances with enough skill.

Heller tries to combine elements which don't fit.#19 ends with a feminine cadence, which might be fine if the rest of the piece resembled a minuet.#15 is in a minor key, but it ends in a Picardy third which somehow doesn't fit.Heller also uses the plagal cadence (#4, #14, #22) on pieces which are not pious enough for plagal cadences.#12 begins in b minor and ends in D major for no discernible reason.

In the last number, Heller makes a reprise of #19 and #18.Somehow, that works in the Franck symphony, but it doesn't work here.

Heller had talent, though.In #17 and #22, the main theme is recapitulated in a pleasant variation.#10 has a nice main theme, but the middle section isn't so hot.#24 is a nice piece.It would be fortunate if Heller could have captured whatever fleeted past him during those moments.

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