Publication: Paris, J. Maho, 1852

Dedication: Madame Selma Auffm Ordt, née Troost

No. 2 Allegretto grazioso in D-flat Major

A contemplative miniature developed through a repetitive rhythmic motif. It is structured as A (a-b-a’-b’-a’’) - B - Coda. A (mm. 1-54): In 'a', the melody placed in the upper voices of both hands forms a unison. Conversely, 'b', starting from m. 9, features the melody placed in unison in the lower voices of both hands. After this is repeated once more, 'a’’' appears from m. 33, with the melody placed in the alto and tenor, rising in intensity while resonating across an even wider range. From m. 38, based on the 'a' motif in the bass, the dominant of the bass is emphasized, forming the climax of the first half. B (mm. 55-83): It undergoes various transformations based on elements of 'a', gradually increasing in intensity. From m. 78, it gradually becomes calmer, and in the Coda from m. 84, 'a' is recalled, bringing the piece to a quiet close.