Ferdinand Beyer - Repertoire des jeunes pianistes, Op. 36, No. 21 - Martha

Measures 1-8 open with a Larghetto in 3/4 after a short chord pickup. Dotted chord phrases alternate with pauses and held notes. An extended brillante passage within measure 7 carries rising runs between the parts before separate chord replies lead to the melody.

Measures 9-23 present the Air Irlandais. A slurred upper melody moves over continuous flowing lower figures. Dotted replies and small ornaments broaden into a rising phrase and descending figures before the melody returns. Measures 16-23 are repeated.

Measures 24-39 form a variation of the melody. Continuous upper runs and repeated notes move over the flowing lower figures. The phrases climb into the high register, descend through chromatic turns and return to repeated-note replies.

Measures 40-44 lead out of the variation with fuller upper and lower chords. Rising ornaments reach held upper notes while repeated lower chords broaden the texture.

Measures 45-98 introduce Allegretto phrases, first in 3/4 and then in 2/4 from measure 48. Short upper replies, grace notes and staccato phrases move over repeated lower chord groups. High-register attacks alternate with middle-register responses, with repeated returns of the opening figures.

Measures 99-122 expand into continuous upper runs over the lower chord groups. Chromatic figures rise through the registers, reach high notes and descend into lower replies. Accented chords interrupt the runs before the next section.

Measures 123-143 change to Larghetto in 9/8. Broad slurred upper phrases move over repeated lower chord groups and sustained bass notes. Tied notes, dotted replies and paired upper notes develop into descending chords and repeated-note figures at the close.

Measures 144-191 return to Allegretto in 2/4. Short accented upper replies and rising figures move over repeated lower groups. High-register phrases alternate with repeated-note passages and descending runs, ending above held lower chords.

Measures 192-223 develop running upper figures above changing bass notes and repeated lower chords. The phrases climb from the lower register to high notes, then answer with short staccato chords. The pattern returns with paired upper notes and fuller chords.

Measures 224-246 change to Piu mosso. Separate upper and lower chord attacks alternate with repeated-note figures and short rising replies. A crescendo leads to higher chords, followed by separate attacks and two final held chords.