Ferdinand Beyer - Six tableaux du Prophète, Op. 108, No. 3

Measures 1-23 begin Andantino quasi Allegretto in 3/4. Rapid ascending figures pass from the lower part into the upper register, alternating with chord replies, descending runs and a quieter paired-note melody in the lower register. Measures 24-41 bring a short upper melody above separate bass notes and chords, with dotted phrases, grace notes and fuller paired-note replies.

Measures 42-71 change to a three-sharp key signature and fuller paired upper notes above moving bass notes and chords. Ornamented replies and repeated lower chords lead into ascending and descending runs, including rapid figures that pass between registers and a fermata chord.

Measures 72-89 begin Allegro moderato in common time. Short slurred figures and trills alternate with detached paired notes, broader melodic phrases and quieter chord replies. Ritenuto and poco rallentando markings lead into a fermata pause.

Measures 90-123 begin Allegro spiritoso in 3/4. Paired melodic notes, short slurred phrases and rising chords alternate above dotted lower figures and rapid lower runs. Fuller accented chords lead into a brillante upper run that descends through several registers. Measures 124-142 bring a repeated-note theme marked leggiero ma marcato above increasingly continuous lower sixteenth notes, followed by rising and descending upper figures and a ritardando pause.

Measures 143-157 begin Allegro moderato con esaltazione in common time with broad accented chords, dotted replies and rising upper figures. Measures 158-165 move into a dolce melody above flowing lower eighth notes, followed by rapid figures and a fermata. Measures 166-193 alternate ascending runs, full chord attacks, repeated upper notes and emphatic dotted phrases with further descending runs and held notes.

Measures 194-217 place flowing paired upper notes above recurring lower figures and separate chords. Longer upper notes and ritenuto replies lead back to fuller melodic chords, then fuocoso chromatic figures rise and descend before quieter repeated upper notes.

Measures 218-234 begin a Marcia marked Molto maestoso, with repeated dotted chords, short ascending figures and accented descending replies. Measures 235-254 introduce cantabile con molto portamento phrases: longer upper notes and paired melodic replies unfold above recurring bass-and-chord figures. Measures 255-270 expand the melody into an agitato ascent, high paired-note phrases and brillante runs, then close with accented chords, a rapid lower figure and a final chord.