Ferdinand Beyer - Repertoire des jeunes pianistes, Op. 36, No. 22 - Haydee

Measures 1-6 open with Allegro in 2/4. Rising arpeggios pass from the lower part into the upper register and reach a held chord. Separate chord attacks and a short lower run close the introduction.

Measures 7-36 change to L'istesso tempo in 6/8. A dolce cantabile upper melody moves over flowing lower figures. Grace notes, dotted phrases and paired-note replies develop into longer rising and falling runs before held notes close the section.

Measures 37-67 introduce Allegro moderato in common time after a short pickup. Repeated upper notes and slurred phrases move over lower chord groups. Paired notes broaden the melody above running lower figures. A held chord and a leggiero ornament within measure 55 lead back to the opening melodic phrases and fuller closing chords.

Measures 68-100 begin Tempo giusto after a short pickup. Continuous upper runs climb into the high register and descend through chromatic turns over separated bass attacks and lower chords. Measures 75-90 are repeated; within that passage, held upper chords alternate with running figures in the lower part, followed by a return of the opening upper runs. The closing phrases introduce broad upper notes over flowing lower figures and separate pesante chords.

Measures 101-104 change to 2/4. An extended leggiero cadenza within measure 101 rises through the high register and descends through chromatic figures. Held notes and short lower arpeggios lead to a quiet held chord.

Measures 105-136 form an Allegretto passage. A slurred upper melody moves over continuous lower triplets. Dotted phrases, small ornaments and paired-note replies develop into rising runs and descending answers. The melody returns with lusingando phrases before separate closing replies.

Measures 137-179 change to Allegro in 3/8. Short upper phrases alternate with rising and falling figures over lower chord groups and sustained bass notes. The melody moves between the registers, expanding into fuller chord replies and longer upper runs.

Measures 180-212 introduce scherzando phrases after a change of key. Triplets, trills and small ornaments appear in the upper melody above moving lower chord groups. Repeated returns of the melody lead to rising lower arpeggios and shorter upper replies.

Measures 213-247 expand the upper phrases into longer rising and falling runs over flowing lower groups. High-register replies alternate with descending chromatic figures, then settle into continuous running patterns before broader chord attacks interrupt the flow.

Measures 248-266 close with rising and falling upper runs over lower chords. Repeated notes lead to a crescendo and higher chord attacks, followed by separate chords with rests and a final held bass chord.