It begins in the old style with a dotted G minor walking chord, then the violin immediately intervenes in a prelude, ascending sforzando from the tonic G to the dominant D and on to G. This is then repeated immediately in A minor. The violin enters, the orchestra accompanies, the prelude becomes the first theme motif. It passes smoothly into a second thematic area, which is carried by an upward swaying bass line in the low strings (a motif that will later characterise the third movement!) and is marked by a melodious downward movement of the violin. These alternating motives linger in this mood, losing themselves in high flute sounds, until it briefly continues recitatively dramatic. A third thematic motif dolce and gently rhythmically brings a soothing melodious and still preluding transition, ending in fine A major in the highest spheres of the violin. A break leads to the second part of the prelude, which begins with the first preluding prelude motive of the opening, now not in G minor but in A minor. The double-stop passages and the orchestral runs play the first theme wildly back and forth before an oboe solo brings the third melodious theme back into play, immediately taken over by the violin and further processed in the dense orchestral movement. Only then does the violin solo lead back to the swaying but dark bass line of the second theme motif with the violin melody floating above it. Then a final recitative by the violin, back in the old style of the G minor beginning, the orchestra reacts abruptly and violently, but then lets the violin alone descend over three octaves, resigned and yet seeking consolation, for after this dense dark motivic action, which prepares the whole suite in nuce, everything ends in a simple illuminating G major chord with a so-called Picardian third, which was common in the 16th century and throughout the Baroque period.

An oboe, then flute and clarinet, followed by the violin, lead us in the manner of the old suites into a new dance-like Baroque mood, as imagined by the late Romantic period. Virtuoso violin double stops and a beautiful full orchestral ending immediately fit the bill. Then follows a gentle legato interlude, a kind of second cleat, before the violin invites a third rustic dance on the G string, leading to a dance-like final fermata. The violin then begins a fine musette, ascending, which shines through the orchestra and violin solo in all variations as if in a development, sometimes played by the orchestra, sometimes by the violin. Then a sudden end and return to the opening theme, albeit slowly flagging and losing itself. A tentative new beginning, but only the rustic dance brings momentum back, even the horn joins in several times and leads to a dance-like and virtuoso final run by the violin, but then the first serious preluding theme of the opening movement reappears, also in G minor, probably reminding us that not everything in life is dance, but the violin modulates to A major and leads to a reconciled, lowering baroque D major final curtain.

Formally unusual, but not without precedent in Tchaikovsky (Piano Trio) or Arensky (String Quartet No. 2), the longest movement now follows in this concert suite, as a theme-with-variations movement.

Theme (Andantino): A simple and elegant theme introduces itself in a lightly moving ¾ bar, twice starting finely, always moving finely, until it increases dramatically, briefly breaks out into dotted eighth notes, but then slowly sinks back down again, mixed in with lyrical wind sounds, and bids a noble farewell.
Very different variations follow like suites, each time surprising the listener's mind and emotions anew.

Variation 1 (Allegro) continues the movement of the theme, accelerating to sixteenth notes and increasing duration, virtuosity and violin finesse. Light flute playing joins in, everything seems light and pushes towards a delicately witty ending.

Variation 2 (Allegro energico) is more than three times as long as the theme and more dramatic. On the dark G string, a gripping violin solo emphasises the odd bars. Immediately afterwards, one recognises the insertion of the prelude theme from the first movement, dark memories at first, which then lighten to A major the second time. Thirds double stops of the solo violin sweep us along, but then the violin insists on its energetic counter-tempoed dark theme together with its insertion and drives this theme wildly into the dissonants and uncertainties until the orchestra violently covers everything under itself and brings everything to an end.

Variation 3 (Tempo di valse) then emerges as if from obscurity with its A major solo violin waltz theme, as if Taneyev had to pay homage to his teacher Tchaikovsky. The winds take over the waltz theme, the violin decorates it chromatically elegant. In the middle section, the violin pulls apart its next waltz theme, so to speak, it can hardly bear even more breadth and beautiful melting, finally it almost comes to a standstill despite the constant three-four time, before the dancers slowly begin to turn again... but surprisingly, the new physical momentum ends directly attacca in the pure spiritual of a double fugue...

Variation 4 (Fuga doppia. Allegro molto): The horns present the first fugue theme in a brilliant tone, which is then immediately exposed by the orchestra in four entries. Immediately afterwards comes the solo violin with the second fugue theme, which is somewhat lighter and is elegantly fugalised and polyphonically performed by the woodwinds. The following double-stop virtuosity of the violin then reminds us again of the preluding theme motif that runs through the whole work and has to appear here in the centre of the variation movement. Then the first fugue theme takes over again, before a preluding cadenza on the violin leads to a wide-ranging conclusion.

Variation 5 (Presto scherzando): Again the listeners are surprised, after the old-style fugue follows, like a good joke, a lively presto violin solo. The violin rushes ahead virtuosically and dispels all baroque nostalgia, pure presence and joy.

Variation 6 (Tempo di Mazurka. Allegro con fuoco): With the ¾ bar of a folk mazurka, the solo violin energetically marks its presence in the here and now, accompanied by the counter-rhythmic sforzati of the orchestra. Chromatic double-stop cascades stand out virtuosically, the mazurka theme is varied and appears in different passionate colours, fiery to the conclusion.

Variation 7 (Variazione finale e coda. Andante):  Accompanied by the cor anglais and solo cello as well as the muted strings, the violin plays a wistful, drawn-out romantic melody whose seeming endlessness one can simply surrender to, resting or yearning. Every romantic violin concerto would wish for a middle movement like this. Then, after more than 500 bars, the opening theme of this variation movement reappears in the violin, transfigured and at rest. The oboe repeats the theme, the strings underline it in a tremolo and the violin leads to a coda in which the oboe, cor anglais and violin recall the theme once more in canon and let it fade away quietly in the highest spheres.