Ferdinand Beyer - Bouquets de mélodies, Op. 42, No. 79 - Faust

Measures 1-69, marked Allegretto in 6/8 at the start, begin with repeated upper chords, octave accents, and short descending figures. A single-note melody appears in measure 9 above arpeggiated lower chords. The texture broadens into paired-note and octave phrases, with more flowing lower broken chords appearing later before a quieter connection.

Measures 70-125, marked Tempo di Valse in 3/4 at the start, begin with a rising and falling line followed by lower bass notes and chords. A slurred single-note melody enters in measure 78 above the recurring three-beat accompaniment. Detached upper figures expand into higher phrases and octaves, then stronger chords and a descending run lead to the next theme.

Measures 126-137, marked Moderato maestoso in 12/8 at the start, introduce broad upper octave phrases above flowing lower broken chords. Sustained tones alternate with short rising replies, and chromatic changes lead into a descending lower run beneath a held upper tone.

Measures 138-171, marked Allegretto agitato in 6/8 at the start, introduce an accented melody in octaves and paired notes above recurring bass notes and chords. Detached notes, short ascending figures, and chromatic replies alternate with sustained upper tones. The lower chords continue beneath a final quieter descending phrase.

Measures 172-197, marked Andante in 2/4 at the start, begin with two measures of repeated low notes before a decorated single-note melody enters. Dotted rhythms and grace notes unfold above recurring lower bass notes and chords, then the upper line grows into paired notes, low-register chromatic figures, and wider rising and falling runs.

Measures 198-221, marked Adagio, molto legato in common time at the start, introduce quiet paired-note and chord phrases in A-flat major. Sustained lower notes alternate with moving chord tones beneath a slurred upper melody. The texture broadens into higher chords and octave phrases before emphatic lower bass notes connect to the next section.

Measures 222-269 change to 3/4 in B-flat major. Trills and rising upper runs introduce a slurred melody above recurring bass notes and chords. Paired-note replies and fuller chord accents alternate with lighter single-note phrases. Upper octave phrases appear in measure 254 above flowing lower figures, followed by descending replies and emphatic chords.

Measures 270-301, marked Allegro marziale in 6/8 at the start, introduce a single-note melody above detached lower bass notes and chords. Dotted rhythms and short descending figures expand into paired notes, then the key changes to E-flat major in measure 294. Stronger upper chord phrases lead back toward the next section.

Measures 302-351, marked Tempo marziale in 12/8 at the start, introduce broad octave phrases and decorated replies in B-flat major above recurring lower bass notes and chords. Sustained upper harmonies alternate with detached chord figures and flowing lower runs. Stronger chord phrases and high-register octave replies lead to repeated low bass notes, emphatic chords, and a held low octave beneath the final chord and rests.