Ferdinand Beyer - Repertoire des jeunes pianistes, Op. 36, No. 20 - I Lombardi

Measures 1-29 begin with Allegro moderato in common time after a short pickup. Slurred upper phrases and dotted replies move above lower chord groups and running bass figures. Chromatic runs reach the high register before the melody returns with triplets and fuller paired-note replies.

Measures 30-53 introduce a dolce passage of continuous upper runs over repeated lower notes and sustained bass notes. Measures 30-41 are repeated. The figures rise through the registers, pass between the parts and descend into short accented replies before repeated upper notes close the section.

Measures 54-75 change to Allegro in 2/4. Short upper phrases and quick turns move over repeated lower chord groups. A change of key brings rising replies and high-register ornaments separated by rests, ending in a full-bar pause.

Measures 76-95 return to common time with Allegro moderato assai. A slurred upper melody develops through dotted phrases, paired notes and chromatic turns. Lower chord groups change into flowing figures, and rising replies broaden the melody before repeated upper notes close the passage.

Measures 96-130 introduce another Allegro in 2/4. Descending upper phrases and short ornaments develop into repeated-note figures and rising paired-note replies over moving lower chord groups. From measure 123, the upper part falls silent while a lower melody moves beneath continuous lower running figures.

Measures 131-137 form a Brillante passage. Running figures pass between the parts around accented chords and rising triplets. High-register replies lead to separate attacks and a pause.

Measures 138-177 begin an Allegro in 2/4. Short upper phrases and quick ornaments move over repeated lower chord groups. The melody develops through paired notes, fuller chords and rising and falling runs, with repeated returns of the high-register replies.

Measures 178-223 expand the running figures and repeated upper notes over changing bass notes and lower chord groups. Upper phrases alternate between high and middle registers while the lower part changes from separated attacks to continuous flowing figures.

Measures 224-241 alternate held upper chords over rising lower arpeggios with upper runs and paired-note figures. The melody reaches the high register, then descends through chromatic phrases and lower replies.

Measures 242-250 close with rising chord attacks, a short upper run and accented high chords separated by rests. Moving bass notes support the rising chords before the final separate attacks.