A whip-crack at the beginning, shrill wind chords, fading downwards. An advancing rhythm in the first violins passes by and fades away. Celesta and vibraphone sounds reverberate, this striking rhythm appears again, rising briefly to a kind of Viennese waltz prelude, whereupon the violin enters prominently, with an unusual solo melody that winds around seconds, singing itself out again and again "up and down", quietly accompanied by the strange celesta, harp and wind chords, until the solo violin finally glides in a long run-up to the highest heights. The driving rhythm interferes violently with the trumpets for a moment, bringing the violin down and causing it to intonate a new motif. It is a double-stop play circling around the note a (a dissonant interval filled within a minor third), freely reminiscent of a second theme of a sonata form, but which will be a defining feature throughout the entire concerto. But the motif quickly fades away into lonely emptiness, accompanied by strange sounds. Again, the orchestra's shrill wind outburst, almost as at the beginning, which challenges the violin to new ups and downs. Twice more, the violin subtly brings its second motif to the oppressive sounds of the winds, then the violin flees into wild runs, brings new rhythms, colours, sounds, plays sul ponticello rich in overtones, as if it wants to make sure of all its abilities. But again it is beset by the garish sound of the wind orchestra, which seems to gain the upper hand, but then disappears in a strange void. Then the violin begins its cadenza, which starts with a melody slowly gliding down in seconds, which will appear again in the second movement, then circles around its beloved second again, developing its own sound possibilities, now alone for itself, with the orchestra silent for a long time, leaving the development to the violin - expressed in the old sonata form category. Only when the violin increasingly finds its own playing and rhythm does the orchestra rejoin, discreetly and colourfully accompanying the violin solo, which has found its own way to play freely. The violin imaginatively varies its secondary motif, plays its "glissandi" and "saltandi" with freedom. The violin seems to enjoy the moments of exuberance until, at the end, the orchestra and the whip strike again violently. Time for something different, second movement!

With a dark glissando of the cellos and basses to tam-tam, harp and vibraphone sounds, the orchestra creates a strangely unreal mood. It forms the background to a searching violin part that again circles around secondary intervals and spreads out over a wide area. It almost seems to lose itself in this unreal world of sound. Then this surreal soundscape is heightened by xylophone rhythms into the almost uncanny.  The violin enters a second time, and the motif of the first movement, which circles around a single note (this interval filled within a minor third), reappears. It leads to striking melodic secondary downward movements, first in the solo violin, then quietly taken over by the orchestral violins. The violin increases and transforms this downward movement into a strangely enchanting sound world, which leads to a shimmering glissando melodiousness of the violin, which, however, becomes more and more sinister underneath. Against this, the violin insists fiercely with a single-note motif, and the orchestra also becomes loud. After a short exhaustion, the violin opens a new sound world with double stops, which leads to an almost mystically bright playing of the violin with vibraphone and celesta and finally leads into fast up and down movements of the violin, reminiscent of the first movement. A kind of cadenza follows, the quiet tremolo "sul tasto" of the violin leads into far-reaching leaps of tone, then the violin once again brings the slowly fading single-note motif in a gently dissonant variation to the sounds of the harp and bongo. A spherical, chorale-like woodwind song follows. Sudden horn blasts lead to screaming outbursts of the orchestral violins, the solo violin intervenes and calms the action. It unexpectedly finds space and silence, only to slip away into the farthest reaches of the world over soft tam-tam.