Publication: Paris, G. Flaxland, 1862

Dedication: Madame Désirée Hallé

General Characteristics

This is the third of three works published by Heller under the title “Nocturne” (Opp. 92-1, 2, and this work). The melody of the nocturne, a genre established by J. Field (1782–1837) and significantly developed by F. Chopin (1810–49), is generally lyrical, like an opera aria, and in a leisurely tempo. The accompaniment often consists of broken chords or arpeggios. While these general characteristics of the nocturne apply to some extent to this work, Heller's melody does not follow the operatic vocal style; its ornamentation is restrained, and it emphasizes subtle changes in harmonic color. D. Hallé, to whom the work is dedicated, was the wife of Heller's friend Charles Hallé (1819–95), whom Heller regarded as an “ideal pianist.”

Structure

The piece is structured in A - B - A' - Coda.

Section A

In the opening of A (measures 1–38), notes expand as if dripping from the G clef, forming a four-voice texture. Theme 1 (measures 1–5), presented in the lowest voice, is repeated with variations in shape and register.

Section B

Section B (measures 39–93), in G minor, consists of two gradually developing sections: ① measures 39–54, and ② measures 55–93. The descending scale motif (Theme 2b) appearing in the right hand in measures 41–42 of B derives from the beginning of Theme 1 (measures 1–2). Section ② is a developmental variation of ①. The initial 8 measures of B (measures 39–46) are expanded to 10 measures (measures 55–64) (the motifs in measures 57–58 and 61–62 derive from the left-hand motif from measure 9, beat 3); Theme 2a is extended into 4 measures (measures 65–68) with a variation in double stops (right hand). The 6 measures from 49–54 are expanded to 15 measures from 69–83, where the right-hand melody becomes octaves, and the left-hand accompaniment resonates over an even wider range.

Section A' and Coda

Following a transition to A' (measures 83–93), Theme 1 returns. A' (measures 94–129) largely reproduces A, but with occasional changes in pitch and rhythm (e.g., measures 113–114; 120–122). In the long coda (measures 130–171) beginning at measure 130, Theme 1 is repeated over a tonic pedal in the bass (measures 130–137), and sections of Theme 2a (measures 138–145) and Theme 2b (measures 146–155) form the climax. From measure 156 onwards, a recitative-like melody alternates with trills (measures 156–163), and the piece concludes with a final cadential passage (measures 164–171) based on a variation of Theme 2b.