"Its main theme, which seems to be born of a quiet feeling of happiness and rises and falls in steps, retains a classical character, while the secondary theme, already more present-tense, bridges the gap between D major and D flat major with naturalness. In the development, mainly instrumental effects are heard, which are achieved with remarkable economy of means" (J.K.).  Brilliant runs of the violin, horn calls, clarinet terraces, flute trills, a mood like on a spring morning, wind calls and sonorous singing along of the violin alternate. Colourful sounds, trumpeting brass fanfares and three-four time bliss accompany the violin through the development. Trills and runs in the violin then lead to the recapitulation. The main theme shines out large and broadly in the orchestra and loses itself once more in the intermediary themes of the exposition. Finally, the violin also brings in the secondary theme once more. The orchestra prepares a climax with a wide run-up that makes room for the violin's cadenza. Brilliantly, but without forgetting the orchestra and its beautiful classical main theme, the movement then closes in effective brilliance.

"A small, free variation movement that now follows uses a ballad-like, folksong-like G minor theme. The change to E major brings much that is peculiar, perhaps the most peculiar of the whole work. The silver-shimmering melody is mysteriously surrounded by the orchestra, the return to the minor melody takes place with subtlety and power of mood" (J.K.). Here, too, the violin's variations offer ample opportunity for virtuoso brilliance, in the E major middle section also for extensive singing in the highest notes. The finale finally ends calmly in G.