Publication: Paris, J. Hamelle, 1878

Dedication: Sa Majesté très fidèle Dom Louis 1er, Roi de Portugal et des Algarves

This is the first published work among the three sonatinas written in Heller's later period, dedicated to the then King of Portugal. The circumstances of the dedication can be glimpsed in a letter Heller wrote in 1875 to his long-time patron, Madame Eugénie Froberville (1795-1876). According to the letter, Heller received a letter from Count da Torre in Lisbon. The Count was a music lover close to the King of Portugal and, in particular, an admirer of Heller. He suggested to the King that Heller be awarded an order, which was immediately approved. This sonatina was thus dedicated to the King of Portugal as a token of gratitude for this "windfall" honor.

This five-movement work employs 18th-century forms, yet its harmonies bear a 19th-century color. The choice of a five-movement structure was likely to encourage the study of both minuet and scherzo styles by including both.

Movement 1: Poco Lento – Allegro non troppo, C major

A movement in sonata form.

• Exposition (measures 22-96): A chromatic introduction (measures 1-21) leads to the exposition, which begins in F major but immediately moves to the tonic key (measure 26). The main theme is presented from measure 22. The first theme consists of two motives: ① Theme 1a (measures 22-25, right hand), and ② a new motive with repeated notes appearing in the left hand at measure 46 (Theme 1b). From measure 71, where G major is established, the second theme in triplets begins in the right hand, and a codetta is introduced from measure 87. Here, a second motive of the second theme section, Theme 2b (measures 87-88, a variation of Theme 1a), is introduced.
• Development (measures 97-136): Up to measure 118, the development is based on Theme 1a. After the rhythm of Theme 1b is repeated twice in measures 119-120, the music moves to C major from measure 125, based on Theme 2b, and the theme returns.
• Recapitulation (measures 137-200): The opening theme is restated an octave higher. From the restatement of Theme 1b (measure 159) until the beginning of the second theme's restatement (measure 184), the exposition is traced in the key a fourth higher. After the second theme is restated (measures 184-200), Theme 2b and Theme 2a appear in the coda (measures 200-216), bringing the movement to a close.

Movement 2: “Andantino” Semplice con grazia, G major

A slow movement in the style of a string quartet with theme and variations. In ternary form. The overall structure can be diagrammed as follows:

• A (measures 1-12)
• B (measures 13-28)
• A' (measures 29-40)
• C (measures 41-48)
• A'' (measures 49-60)
• Coda (measures 60-66)

If likened to a string quartet scoring, A features the violin carrying the main melody, while B features the cello. A' can be regarded as a scoring where a second violin is added to A. C, while based on the triplet motive from measures 17-18, forms an introduction to the dramatic variation A'' of A. Compared to the neo-classical A, A', and B, A'' transforms into a more romantic style.

Movement 3: “Scherzo” Vivace, E minor

A Mendelssohnian scherzo. It adopts a typical ternary structure: A (measures 1-58) – A' (measures 59-120) – B (measures 121-234) – A'' (measures 235-285) – Coda (measures 286-318). A and A' have almost identical measure structures, differing only in modulation. The middle section B (Trio) in E major is characterized by a rustic accompaniment of open fifths. A'' takes almost the same form as A' but has a strong orientation towards the tonic key. The coda from measure 286 onwards sequentially uses material from B and A.

Movement 4: “Minuet” Moderato, E minor

While classical minuets are typically written in compound ternary form, Heller employs the following structure:

• A (measures 1-8)
• B (measures 9-24)
• A' (measures 25-32)
• B' (measures 33-48)
• Coda (measures 49-58)

A consists of a repeated 8-measure section in imitative counterpoint. Taking up the dotted rhythm motive from the beginning of A, B presents an 8-measure theme based on arpeggiated unisons. Following A', which is a direct restatement of A, B' begins in A minor. B' returns to the tonic key in its expanded latter half (measures 37-48). In the coda, the motive from B appears in the right hand and the motive from A in the left hand (measures 49-52), combining the two to conclude the movement.

Movement 5: “Finale” Allegro con spirito

It adopts a form that could be described as a sonata form without a development section. The movement is broadly divided into two parts:

• Part 1 (measures 1-113): The first theme consists of: ① Theme 1a (measures 1-24), presented with staccato chords; and ② Theme 1b (measures 25-32), an 8-measure theme comprising a chorale-like passage and its variation. The transition section (measures 33-56) modulates to G major but avoids a cadence, moving instead to the second theme (Theme 2a) in E minor. The second theme (measures 57-72), reminiscent of a woodwind solo, establishes G major at measure 73. However, after the scherzoso section (Theme 2b) beginning at measure 73, a grand pause with a fermata (measure 97) is introduced, followed by a transitional passage based on Theme 1a appearing in A-flat major, foreshadowing the arrival of the second part.
• Part 2 (measures 114-228): The opening Theme 1a' (measures 114-129) has a new eighth-note motive added in the left hand. After Theme 1b' (measures 130-141) is restated, a transition section (measures 142-165) leads to the restatement of Theme 2a' (measures 166-181) in A minor. C major is established in Theme 2b' (measures 182-199). After another grand pause with a fermata (measure 204) and a transitional passage in A-flat major, Theme 1a returns again (measures 213-228). From measure 229, a coda begins, bringing the sonatina to a brilliant close.