Ferdinand Beyer - 6 Morceaux élégants, Op. 90, No. 3 - Irene und Agathe

Measure numbers follow the printed barlines, with the opening pickup excluded. The extended opening cadenza is included in measure 6.

The Andantino begins in 3/4. Measures 1-5 alternate short dotted chord figures with rising paired notes and lower bass-and-chord replies. Measure 6 broadens into a held chord and an extended cadenza of rising arpeggios, repeated upper notes, and descending chromatic runs. Measures 7-15 return to quieter short figures and held paired notes. Measures 16-38 present an expressive chordal melody above recurring lower broken chords, with dotted rhythms, held upper harmonies, brief ornaments, and stronger chord accents. Measures 39-43 build through an upper run and emphatic chord replies.

Measures 44-66 change to 2/4, marked L’istesso tempo and con leggerezza at the start. Continuous upper figures carry the melody within rising and falling runs above alternating lower bass notes and chords. Repeated upper figures and descending runs lead into a return to 3/4 in measure 67. Measures 67-71 alternate broad ascending arpeggios across both registers with emphatic chord replies.

Measures 72-79, marked L’istesso tempo at the start, return to the expressive chordal melody over lower broken chords, with fuller moving figures and brief accented replies. Measures 80-85 bring back the ascending arpeggios and chord accents. Measures 86-100, marked a tempo and espressivo at the start, carry held upper chords and paired-note phrases above flowing lower figures, then build into repeated upper chords.

Measures 101-110 widen into broad rising and falling upper arpeggios above lower broken chords and sustained harmonies. Measures 111-117, marked armonioso at the start, exchange short rising and falling broken-chord figures between the two parts and gradually descend. Measure 118 quietens into a short final reply, and measure 119 closes with a broad emphatic B-flat-major chord.