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Bartók might have protected his first piano concerto but with time, he was obliged to accept that “the facture is somewhat – even very – difficult for both the audience and the orchestra. That is why I decided some years later, 1930/1931, to compose my second piano concerto as a counterpart to the first one, thematically more agreeable and with fewer difficulties for the orchestra. This intention explains the more folk-like, lighter character of most of the themes.” Further, the composer describes the orchestration: “The orchestra consists of winds and percussion in the first movement; it is made up of (muted) strings and timpani in the Adagio; the Scherzo uses strings, a group of winds and percussion, and only the third requires the full orchestra.”