Ferdinand Beyer - Bouquets de mélodies, Op. 42, No. 10 - La sonnambula

Measures 1-41, marked Moderato in common time at the start, begin with rising and falling paired notes, then introduce a slurred melody above flowing lower broken chords. Short ornaments, triplets, and emphatic chord accents interrupt the quieter phrases. Measures 42-56, marked Più mosso at the start, bring back insistent paired-note figures above lower bass notes and chords, then descend into a quiet held harmony.

Measures 57-98, marked Andante sostenuto in 12/8 at the short lead-in, present a paired-note melody above recurring lower bass notes and chords. The upper line broadens into octaves and chord accents, adds quick ornaments and extended runs, and returns to quieter phrases above flowing lower broken chords before a final rising and falling figure.

Measures 99-139, marked Allegretto in 6/8 at the start, introduce short slurred figures above recurring lower bass notes and detached chords. The upper melody expands into octaves, alternates emphatic accents with softer replies, and returns to a single-note line before rising again into paired notes.

Measures 140-155, marked Andante cantabile in 12/8 at the start, begin with an emphatic chordal flourish, then introduce an expressive single-note melody above repeated lower broken chords. Short ornaments and descending phrases broaden into paired notes and stronger chords, ending with a falling run and a quiet pause.

Measures 156-171, marked Allegro moderato in common time at the start, present a slurred melody above flowing lower broken chords. The upper line develops paired-note phrases and dotted rhythms, then rises and falls through broad runs. Measures 172-202, marked Più mosso at the start, introduce quick single-note phrases and high octave accents, pass through a quieter held harmony, and continue a singing melody above detached lower bass notes and chords.

Measures 203-241 alternate repeated upper paired notes with held chords and slurred melodic phrases above continuous lower broken chords. The melody rises into octaves, descends through accented figures, and settles into a held harmony.

Measures 242-266, marked Allegro moderato at the short lead-in, return to a single-note melody above detached lower bass notes and chords. Short ornaments, triplets, and rising and falling phrases give way to an insistent octave melody in measures 267-269. Measures 270-274 broaden into emphatic chords and close with held E-flat-major harmonies.