Ferdinand Beyer - Bouquets de mélodies, Op. 42, No. 15 - Ernani

Measures 1-33, marked Andantino in 3/4 at the start, connect rising figures and emphatic chord accents with a quieter single-note melody above recurring lower bass notes and chords. Short ornaments and triplets broaden into octaves, paired-note runs, and a sustained melody above flowing lower figures. Measure 34 extends a descending and ascending cadenza between held harmonies and a strong chord accent.

Measures 35-68 continue a paired-note and octave melody above recurring lower bass notes and chords. Strong accents alternate with quieter replies, and the accompaniment becomes more flowing beneath slurred melodic phrases. Rising and falling upper runs lead into a descending flourish and a quiet pause.

Measures 69-87, marked Andante sostenuto in common time at the start, introduce a slurred single-note melody above detached lower bass notes and chords. Held notes alternate with short rising and falling figures, and paired-note accents broaden the later phrases.

Measures 88-110 introduce an octave melody with dotted rhythms above repeated lower chords. Strong accents alternate with quieter replies and a single-note melody above flowing lower broken chords, then the octave melody returns and descends through accented figures.

Measures 111-139, marked Allegro at the start, present a slurred single-note melody above detached lower bass notes and chords. The upper line adds short triplets, paired-note accents, and bright rising phrases. From measure 127, flowing lower broken chords accompany the melody, which expands into rising and falling runs before a chordal pause.

Measures 140-159, marked Moderato at the start, introduce a detached melody above recurring lower bass notes and chords. Short slurred groups alternate with held notes and triplets, and the upper line broadens into paired notes and octave accents. Measures 160-163 connect descending upper runs with strong chord accents and a quiet pause.

Measures 164-202, marked Allegro in 2/4 at the start, introduce an octave melody above recurring lower bass notes and detached chords. Short slurred replies alternate with emphatic accents and higher phrases, then descend through paired-note figures into quieter falling runs.

Measures 203-215 develop rising upper figures above detached lower bass notes and chords, then turn to descending paired-note phrases and a lower rising run. Measures 216-225 connect ascending figures with high octave and chord accents, answer them with low bass notes, and close with a held B-flat-major harmony and an emphatic final chord.