Ferdinand Beyer - Repertoire des jeunes pianistes, Op. 36, No. 12 - Nabucodonosor

Measures 1-4 begin Largo in common time. Chromatic runs pass between the hands above held notes, followed by separate chords, rests and fermatas. Measures 5-25 introduce a slurred upper melody over flowing lower eighth notes. The texture expands into repeated lower chords, rising upper phrases and fuller replies.

Measures 26-63 change to Allegro risoluto. Repeated upper notes and short paired-note figures sound above separate bass and chord attacks. Broader slurred phrases alternate with accented replies, then rising runs and chromatic descents lead to repeated notes and a quiet fermata ending.

Measures 64-82, following an eighth-note pickup, change to Andante cantabile. A connected upper melody moves over flowing lower figures, with small ornaments, dotted rhythms and longer rising and falling runs. The closing phrase settles into softer notes and a fermata.

Measures 83-86 begin Allegro moderato with a descending upper run, followed by separate lower-register notes and rests. Measures 87-113 form a Marcia passage with chord attacks, dotted rests, triplets and short melodic runs. Two short strains are repeated before the phrases broaden into fuller chords and descending replies.

Measures 114-129 introduce another repeated passage. Triplet turns and slurred upper notes move above flowing lower eighth notes, then the texture opens into held upper notes, chromatic lower replies and rising runs. Separate chord attacks end the passage.

Measures 130-166 present a dolce upper melody after a change of key. Longer held notes and shorter replies sound above repeated lower chords. The melody returns with fuller lower support, then chromatic turns, rising runs and accented chord attacks lead to the next section.

Measures 167-215 change to Allegro in 2/4. Dotted upper phrases move above flowing lower groups, developing into rising and falling runs. Repeated upper patterns continue over held bass notes and separate lower figures, then descending con fuoco patterns pass into the lower register and rise again.

Measures 216-226 close with running figures in both hands, followed by separate notes and chords with rests between them. Two whole-bar rests interrupt the final chord replies before the last held lower chord.