Henri Bertini - Solo de concours No. 2, Op. 121

Measures 1–30 open in A-flat major with forceful octaves, rising broken chords, descending figures, and pauses on held chords. A long ascending run closes the opening before the softer melody at measure 31.

Measures 31–57 place a sustained upper melody above repeated lower chords. Fuller octave replies alternate with softer phrases, decorative descending runs, and a slowing cadence.

Measures 58–108 bring upper sixteenth-note figures, trills, and changing registers above detached lower chords and bass notes. The upper figures grow into longer chromatic runs before slowing toward a new melody.

Measures 109–141 place a slower upper melody above flowing lower broken chords. The melody expands into fuller chords and short runs, then moves into recurring inner eighth-note figures as the harmonies change.

Measures 142–210 renew the faster motion with upper runs, octave figures, short chordal replies, and alternating lower bass notes and chords. Trills and descending runs lead into fuller chordal phrases, which soften and slow before the next section.

Measures 211–242 introduce a quiet melody in B major and compound time above lower broken chords and sustained bass notes. The harmonies turn back toward A-flat major, with fuller upper chords, softer repeated phrases, long runs, and a slower chordal transition.

Measures 243–291 resume fast upper sixteenth-note lines above short lower chords. Lower descending runs answer sustained upper notes, followed by renewed high upper figures, trills, and matching runs in both parts.

Measures 292–307 bring forceful chordal gestures, octave lines, and further upper runs as the tempo increases. At measure 308, compound-time figures renew the motion above short lower chordal replies. The final phrases alternate upper chords with lower runs, then rise and descend through broken chords before the separated closing chords at measures 333–337.