Georges Lamothe was a prolific composer of light dance music for the piano in the late 19th century. This work functions as a quintessential salon waltz, emphasizing melodic charm and rhythmic fluidity.
At Henle 4 this is an intermediate piece that expects secure technique and real attention to phrasing. The main demands: a waltz lilt that needs charm and a flexible left hand; rubato that must breathe naturally without losing the pulse; and careful pedaling — clarity depends on the foot as much as the fingers.
Beyond that, expect a true singing tone, with the melody floating above the accompaniment.
Students must develop a graceful 'one-in-a-bar' feel while maintaining the structural dance rhythm.
Comparable difficulty and character — good candidates for what to learn next.
A level or two down with the same spirit — ideal if this piece is still out of reach.
Where this piece's skills lead: slightly harder works making similar technical demands.
De Paris à Vienne (Op.172) is rated Henle level 4 of 9 — intermediate repertoire, roughly ABRSM grades 5–6. In the RCM system it corresponds to about level 4.
You should be comfortable at Henle level 4 — meaning you can already play level 3–4 pieces cleanly. Learning it one level early is possible as a stretch piece, but more than that usually leads to months of frustration.
A typical performance of De Paris à Vienne (Op.172) lasts about 4 minutes.
De Paris à Vienne (Op.172) is available as free public-domain sheet music on IMSLP — the score is linked directly from this page.
Pieces at a comparable difficulty and character include Brise des nuits by Georges Lamothe, Billet doux by Georges Lamothe, Bella by Georges Lamothe — see the full similar-pieces list on this page.