The second movement, larghetto, requires a frequent change of measure.
These effects readily are discoverable in the larghetto of the Potocka concerto.
Because of its beauty and its association with Delphine, I would suggest that the pianolist begin with this larghetto.
A composer writes a larghetto when he feels something like writing a largo but isn't, on the whole, quite up to it.
The second or larghetto movement was also a success, but to a less degree.
The alto then takes up a larghetto in six-eight time, key D minor.
The details of the larghetto must be studied (say, at the organ).
There is an example of the latter in Chopin's Sonata I (the larghetto movement).
I would particularly mention the larghetto, from the second Concerto, a piece full of poetic charm.
In the larghetto one group occasionally interrupts the other, giving it piquancy.