Ferdinand Beyer - Bouquets de mélodies, Op. 42, No. 9 - Belisario

Measures 1-18, marked Maestoso in common time at the start, connect emphatic chords and octave accents with rising and falling runs. Measures 19-73, marked Larghetto in 3/8 at the start, introduce a slurred melody above recurring lower broken chords. Short ornaments and single-note phrases expand into paired notes and higher chord accents, then settle into a held harmony.

Measures 74-111, marked Allegretto in 3/4 at the start, present a paired-note melody with short ornaments and trills above detached lower bass notes and chords. Measures 112-128, marked Un poco più mosso at the short lead-in, turn to a single-note melody with accented replies and flowing lower figures, and repeat the section. Measures 129-138 broaden the melody into octave and chord accents, followed by descending upper runs.

Measures 139-202, marked Moderato mosso in common time at the start, introduce bright rising figures and upper chords above recurring lower bass notes and chords. The upper melody alternates single notes with paired notes and octaves, adds short ornaments and triplets, and moves through quieter passages before low flowing figures and a held harmony.

Measures 203-232, marked Larghetto in 3/4 at the start, present a slurred melody above continuous lower triplet figures. The upper line expands into paired notes and octave accents, then descends into a lower chordal passage. Measures 233-261 introduce another expressive melody above flowing lower broken chords. Paired-note and octave phrases give way to broad runs, short chord accents, and a quiet pause.

Measures 262-284, marked Moderato in common time at the short lead-in, introduce a paired-note melody with dotted rhythms and short slurred replies above detached lower bass notes and chords. Measures 285-315, marked Un poco più mosso at the start, broaden the melody into octaves, alternate emphatic chord accents with quieter phrases, and add rising and falling figures. Measures 316-327, marked Più mosso fuocoso at the start, connect insistent paired-note triplets with ascending figures and strong chords, closing with a held F-major harmony.