This is a salon waltz composed by Béla Kéler, a violinist and conductor known for his light orchestral and piano dance music. The piece exhibits the characteristic charm and rhythmic lift typical of late 19th-century ballroom repertoire.
At Henle 3 this is a late-beginner piece — comfortable hands-together playing is assumed, and musical shaping starts to matter. The main demands: a waltz lilt that needs charm and a flexible left hand; a true singing tone, with the melody floating above the accompaniment; and careful pedaling — clarity depends on the foot as much as the fingers.
Beyond that, expect chord voicing — bringing out one note inside a handful of others.
Maintain a steady rhythmic lilt while shaping the melodic lines with appropriate rubato.
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.
Lesser-known works by the same hand, at a comparable level.
Entre Paris et Wiesbaden (Op.71) is rated Henle level 3 of 9 — late beginner repertoire, roughly ABRSM grades 4–5. In the RCM system it corresponds to about level 4.
You should be comfortable at Henle level 3 — meaning you can already play level 2–3 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 Entre Paris et Wiesbaden (Op.71) lasts about 4 minutes.
Entre Paris et Wiesbaden (Op.71) 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 Erinnerung an Hermannsstadt by Béla Kéler, Erinnerung an Bartfeld by Béla Kéler, Conferenz Quadrille by Béla Kéler — see the full similar-pieces list on this page.