After two short orchestral accompaniment bars, the solo violin, immediately after its ascending entry, presents a catchy, far-reaching melody, descending from A to G to F, and marked by a catchy rhythmic third phrase. In the continuation and variation of this main theme, including the phrase, and with changing orchestral accompaniment, this melody in the violin transforms more and more into desperate accusation, and makes one think of all the suffering of Armenian history when listening compassionately. Clarinet and other instruments mirror the catchy phrase of the melody in the orchestra, but do not interrupt the violin's irrepressible drive. Only when the violin's drive is exhausted on the highest note do the woodwinds and horns come into play with their colours and lead on to the second theme, a sad, resigned melody on the G string, which in its triplet suggestions is reminiscent of the phrases of the beginning. Only slowly does this melody clear up somewhat. The violin rises to a higher register, up to harmonics underpinned by fine orchestral motifs. In a new tempo and in back and forth with the orchestra, the violin leads towards the development, which begins with a reminder of the main theme in an A flat minor repetition of the orchestral violins. The violin varies this theme and transforms it into wild, desperate violin virtuosity in all keys and figurations. A meno-mosso motif in the violin exudes passion in double stops. After another brief pause of exhaustion in the violin, the orchestra in the horn brings the memory of the second theme, to which the solo violin ties in. The expansion of this second theme leads to the transition to the free violin cadenza. Over violin double stops, the orchestra then plays the melody of the main theme again, so that this beautiful melody will always be imprinted on the listener. Then the violin takes over again and confidently continues this melody. The orchestra returns with an undertone upbeat motif and leads to the recapitulation of the second theme, this time in the high register of the violin. The orchestra and violin continue this theme melodically. A bassoon joins in with the same motif and drives the violin to a virtuoso, self-confident final run, which ends effectively and gratefully for the violinist.

The orchestra, led by cor anglais and oboe, then replaced by violas and clarinet, begins a contemplative song in a dark mood, which the violin soon complements with its expressive melody, again characterised by a minor third. This melody of the violin develops into ever greater freedom and expansiveness, the orchestra remains with it with its dark singing. The mood of the musical events lightens with time. The thirds phrase remains present, insistent in the violin's octave fingerings. In the orchestra, the serious dark singing continues in the winds, which the violin finally takes over on its G string, slightly altered and leading into light heights, while the dark motif of the bassoon remains present until the end.