Ferdinand Beyer - Bouquets de mélodies, Op. 42, No. 50 - La Traviata

Measures 1-37, marked Allegro moderato in common time at the start, begin with repeated detached notes above lower octave figures. Emphatic upper chords give way to a decorated single-note melody above recurring lower bass notes and chords. The phrases rise into a higher register, then expand into flowing lines and paired-note replies.

Measures 38-60, marked Largo in 12/8 at the start, introduce broad paired-note and chord phrases above rising lower figures. Quieter single-note replies alternate with stronger upper accents while the lower accompaniment continues in recurring bass notes and chords. Later phrases broaden into octaves and chromatic paired-note figures.

Measures 61-93, marked Allegro in common time at the start, connect short melodic replies with accented octave tones and descending ornaments above recurring lower bass notes and repeated chords. Paired notes and stronger upper chords broaden the texture, then repeated detached figures settle into a quieter phrase.

Measures 94-143, marked Andante mosso in 3/8 at the start, introduce short slurred single-note groups above recurring bass notes and chords. The upper line expands into paired notes and high chords above flowing lower figures, then alternates emphatic accents with quieter chromatic replies and descending runs.

Measures 144-184, marked Andantino in 3/8 at the start, begin with short lower chords beneath a slurred single-note melody. Ornaments and triplets broaden into octave phrases above flowing lower broken chords, followed by descending replies and stronger high accents.

Measures 185-189, marked Allegro in common time at the start, connect paired-note figures with a descending line and a quieter low-register reply. Measures 190-242, marked Allegro brillante in 6/8 at the start, introduce a slurred melody and trills above recurring lower bass notes and chords. The phrases broaden into high octaves, wide rising and falling runs, repeated notes, and upper chord accents.

Measures 243-324, marked A la Valse in 3/8 at the start, introduce detached high melodic notes with grace notes above recurring bass notes and chords. Triplets and short descending figures alternate with paired-note replies, then the melody moves between registers and broadens into octave phrases with chromatic changes.

Measures 325-447, marked Allegretto at the start, introduce a slurred single-note melody above the recurring three-beat lower accompaniment. Grace notes and short decorated replies expand into octave phrases and paired notes, then descending figures alternate with stronger upper accents. Trills lead into falling runs, a rising flourish, and emphatic chords that close on a held B-flat-major harmony.