Similar to Schumann's late Violin Concerto (Dietrich probably knew the Schumann Concerto composed in 1853), Dietrich's Violin Concerto also begins in orchestral D minor. Immediately afterwards, a moving theme rises in the basses, preparing the entrance of the violin. The violin takes over the rhythmic core motif and continues the given theme. Then the theme appears broadly in the orchestra and develops greatly until the violin leads over to a romantic secondary theme rising from a sonorous depth, which spreads out singing until the horns let it fade away. In a new attempt, the violin soars to virtuoso runs, without lapsing into virtuoso end in itself, but always symphonically embedded in deep seriousness. The musical-heroic mood of this movement remains until the development, only then does the world clear up, becoming brighter in flutes, violins and pizzicatos; the rhythmic core of the main theme becomes a moving force, the violin floats above the orchestra in its runs and only leads to the recapitulation of the main theme after violent agitation. D minor mood as at the beginning, and again it is the violin that introduces the friendly melodious secondary theme to calm things down and leads to romantic horn sounds in violinistic beauty to the coda.  Once again, a fierce orchestral revolt, which then leaves room for the violin's cadenza, whereby the orchestra - a speciality of this movement - does not remain silent during the violin's cadenza, but discreetly accompanies the mad virtuosity. But then the orchestra says: Enough now.

On the G string, an expressive, expansive romantic A-major melody resounds to a soft timpani roll, wanting to open the soul wide.
This yearning calm is only disturbed in an agitated middle section, a rhythmic motif driving on and bringing an impatient restlessness. The orchestra also interferes. Only slowly does this agitation wear thin, soothing itself in the violin, which turns it into a swaying song, grazioso ed espressivo. The violin abandons itself to this singing until it fades away. Then, almost chorale-like, the orchestra brings the opening melody, the violin takes over, the movement remains, the singing too, only at the end does the violin return to the calm of the opening melody. Deep peace - romantic "Weltentrücktheit", perhaps - the G-string of the violin sings itself out in all peace.