Ferdinand Beyer - Repertoire des jeunes pianistes, Op. 36, No. 45 - Der Freischutz

Measures 1-9 begin Allegro in common time. Trills and small upper ornaments sound above fuller lower chords, followed by separate attacks, rising figures and held notes. Measures 10-27 change to Adagio in 2/4, presenting a cantabile melody in single and paired notes with small ornaments and flowing lower replies.

Measures 28-37 introduce Allegretto in common time. Repeated upper figures accompany a rising lower melody, then fuller chord replies and longer upper runs expand the texture. Measures 38-47 change to Moderato, alternating repeated paired notes with held upper notes and small lower figures.

Measures 48-77 present a dolce con espressione melody after a change of key. Slurred upper phrases, dotted rhythms and small ornaments move over flowing lower eighth notes. The melody rises into an octave-marked register, then returns through broader held notes and descending replies. Measure 78 contains held notes and an extended leggiero cadenza that rises and falls through both registers.

Measures 79-97 change to Adagio in 3/4. A religioso con espressione upper melody moves over flowing lower groups. Dotted phrases and small ornaments alternate with fuller chord replies, descending figures and broader held notes.

Measures 98-133 continue the Adagio melody, with paired notes, flowing lower figures and repeated upper replies. The opening melodic material returns at measure 104. Fuller chords, chromatic turns and small ornaments lead to separate repeated notes. Measure 134 contains an extended risoluto cadenza above held lower chords, ending with separate chord replies.

Measures 135-144 introduce Adagio in common time. Repeated paired notes occupy the lower register above a separate bass line. The texture broadens into held upper notes and running lower groups, then settles into quiet held notes and a rest.

Measures 145-170 begin Allegro vivace. Rising and falling upper phrases move over held lower chords and separate bass-and-chord groups. Broader held notes alternate with shorter figures and rising runs, developing into continuous upper patterns.

Measures 171-200 continue the upper runs, with longer chromatic descents, paired notes and a pesante chord reply. The phrases return through rising figures and high-register answers before descending into fuocoso patterns.

Measures 201-207 close with short running figures and a separate note followed by rests. Marcato held upper chords sound above a repeated lower pattern. Further rests lead to the final held chord.