The orchestral exposition of the then customary orchestra (strings, 2 oboes and 2 horns ad libitum) brings one theme after the other in free succession, one more gallant and beautiful than the other. At first, a theme that starts immediately in syncopation attracts the listener's full attention. Its postlude seems to come towards us listeners until it leads back to the repetition of the syncopated theme with a tutti start. Then again a full Mannheim crescendo in the tutti, followed by a melodiously singing, questioningly gentle theme that ends abruptly with three thematically striking, violent final chords. A new moving interlude begins and leads into more melancholy areas of feeling, but these are quickly wiped away again.

Then - after a brief pause - another dallying theme surprises us, until those three striking chords already heard bring this rich orchestral exposition to an end.

Enter the soloist: with a long-drawn-out A, the violin finally steps forward from an imaginary background into the orchestral play, bringing a new thematic idea for the orchestra. In self-confident ups and downs, the violin affirms this own theme and at the same time continues it as if the themes presented by the orchestra were not enough for it. The violin shows courage to do its own thing and makes use of its own technical skills. Only then does the violin take over the second questioning, gentle theme, after which it rises to the highest virtuoso heights of its own. After a short tutti, the violin then remembers the dallying-dancing theme of the orchestral introduction and transforms it into virtuoso violin figurations and runs, which, for example, after an ever-rising scale to the highest e, abruptly plummet to the low b on the G string, only to be caught by the orchestra's tutti. The orchestra takes over the dallying theme and continues it in wild runs until the violin enters anew on a long-drawn-out e. Underneath, a previously introduced theme can be heard. Below this, an orchestral motif that has already been introduced can be heard, but then there is no stopping the violin, it shows what it can do and boldly goes ahead of everyone until it stops briefly after a free cadenza on a high b. But immediately the violin falls. But immediately the violin plunges ahead again with a brisk rhythmic motif. Now and then, between violinistic skills, memories of the given themes emerge. In long attempts of all kinds, the violin prepares us for an obviously very important tutti. And really: full orchestral effort: a motif played by the basses, reminiscent of the main theme, and a movement striding towards us lead immediately to the orchestra's gentle second theme as a hidden recapitulation. Again, this finely balanced theme closes with strikingly violent, triple final chords.

Once again the solo violin takes the lead and again brings its own first confident solo theme. But then, as if to reassign itself to the orchestra, it flows formally faithfully into the gentle second theme and leads it into technical escapades of the heightened kind. Pizzicati of the orchestra accompany benevolently at times. Occasionally, the violin recalls the dallying dance.

But once again, the solo violin shines and takes ample time and space to display its skills. With the three familiar fierce final chords, however, the orchestra takes over and leads the music to its own extensive orchestral moderato conclusion.

The brilliant first movement is followed by an emotional Largo. Saint-Georges thus follows the new three-movement concerto form introduced by the Italians, which does not simply string together courtly dances (as in the French suite) but seeks to address the emotional world of the enlightened bourgeois subject. In the subdominant of A major, a touching, chant-like D major melody of the string orchestra begins with an upbeat in regularly stepping triple time. Slightly melancholic and occasionally cloudy in the minor key, it directly touches the listener's emotions and thus prepares the way for the solo violin. Here, too, the violin does not simply take over the beautiful vocal theme, but begins with two long drawn-out notes in A and an optimistic ascent to the high D and then slowly descends over the accompanying triple rhythm of the orchestra to the end of the melodic phrase. But immediately she resumes her dreamlike singing, the kind that seems destined only for a violin solo, leading into spheres that made the violin the ideal modern solo instrument in France at the time. One follows enlightened and sees light in the darkness of existence. A contemplative tutti only briefly interrupts the singing of the violin. The animating triple rhythm of the orchestra immediately invites the violin again to repeat its optimistically ascending opening motif, though now somewhat lower in E, and to lead the melody once more through the most beautiful regions of the violin's sound. And finally the violin takes over the orchestra's opening theme and reveals in the most beautiful violin register what this melody contains in terms of motivic richness, movement and beauty. Slowly, she leads this melody to a peaceful end, not without convincingly demonstrating empirically the height of a violin's tonal range that is attainable. Then follows the expected cadenza and a fine fade-out by the orchestra.