Uploaded October 2023 | Updated September 2026, 2 weeks ago
F.CHOPIN : LARGHETTO from piano concerto no.2 op.21(countryside version) - K. ZIMERMAN
Photos:Poland
en.wikipedia.org/wiki/Piano_Concerto_No._2_(Chopin)
The Piano Concerto No. 2 in F minor, Op. 21, is a piano concerto composed by Frédéric Chopin in fall 1829. Chopin composed the piece before he had finished his formal education, at around 20 years of age. It was first performed on 17 March 1830, in Warsaw, Poland, with the composer as soloist. It was the second of his piano concertos to be published (after the Piano Concerto No. 1), and so was designated as "No. 2", even though it was written first.
Larghetto (A-flat major)
A work of "undescribable beauty", this nocturnal movement is said to have been inspired by Chopin's distant idolization of Konstancja Gładkowska or of Tytus Woyciechowski. The main theme (the "A" section) is introduced by the piano after an orchestral introduction and is later repeated twice and again, at measure 82 (the start of the coda), is enhanced by the sublime entrance of the bassoon in canon, followed by the bassoon transitioning to a counter-melody.
F.CHOPIN : LARGHETTO from piano concerto no.2 op.21(countryside version) - K. ZIMERMAN
Photos:Poland
en.wikipedia.org/wiki/Piano_Concerto_No._2_(Chopin)
The Piano Concerto No. 2 in F minor, Op. 21, is a piano concerto composed by Frédéric Chopin in fall 1829. Chopin composed the piece before he had finished his formal education, at around 20 years of age. It was first performed on 17 March 1830, in Warsaw, Poland, with the composer as soloist. It was the second of his piano concertos to be published (after the Piano Concerto No. 1), and so was designated as "No. 2", even though it was written first.
Larghetto (A-flat major)
A work of "undescribable beauty", this nocturnal movement is said to have been inspired by Chopin's distant idolization of Konstancja Gładkowska or of Tytus Woyciechowski. The main theme (the "A" section) is introduced by the piano after an orchestral introduction and is later repeated twice and again, at measure 82 (the start of the coda), is enhanced by the sublime entrance of the bassoon in canon, followed by the bassoon transitioning to a counter-melody.
