Episode 1 (from Fig. 1, approx. 2 minutes long):
Hidden and quiet in the basses and simultaneously in the orchestral violin, the concerto begins with the first rising typical seconds of the barefoot song. At an extreme pitch, however, the entry of the solo violin immediately brings a counter-theme moved by syncopations and triplets. Violin and orchestral instruments search for orientation with their opposing melodies. Almost unnoticed, the tuba first interferes in the string polyphony (with the deeply hidden barefoot song seconds), then the woodwind section and all the brass follow, threateningly condensing the sound world. Pizzicatos of the basses emerge, the solo violin is increasingly cornered, then finds a rhythmic counter-motif that allows the solo violin to escape for a moment into a lingering high harmonics fermata.

Episode 2 (from Fig. 5+7, approx. 1 ¼ minutes long):
In double tempo, the figures of the solo violin, the flute and the pizzicati of the orchestral violins bring a motif that comes from the beginning of the Barefoot Song. As if God were now hurrying across meadows, without being given much space. The violin part is harassed by the sonic force of the unleashed orchestra, until the horns put a striking stop to it.

Episode 3 (from Fig. 10+6, approx. 3 ¼ minutes long):
In response to the horns' call, the violin tries to reintroduce its triplet-swinging counter-motif. But a tuba motif rhythmically imposing itself from below revives the orchestral sound masses. The collective begins to dominate, and all attempts by the violin to assert itself are doomed to failure. After a brief languor, cutting trumpet and drum interjections recall attacks of pain. The violin responds to this with the repeated second steps of the barefoot song on several pitches, but to no avail. The attacks follow all the more violently. The violin tries wildly to defend itself, its playing on the G side sounds plaintive, a kind of fate motif can be heard briefly in the orchestra.

Episode 4 (from Fig. 20+8, approx. 5 ¼ minutes long):
Almost inaudible in the agitated sound event, the violin brings the complete first verse of the melody of the Barefoot Song on its G side for the first time. Wind motifs in bassoons and horns as well as drum beats destroy the continuation of the song. After an almost haunting mood (fast piccolo runs and drum rhythms), fast almost liberating runs in woodwinds and violin bring some relief and relaxation. The violin begins to sing again, but does not penetrate. From the depths, the bass tuba is heard twice intoning the opening motif of the barefoot song. Again the violin searches for its melody in wild figurations, a motif of fate briefly appears in the background, and the violin, in all confusion, finds its high countermelody of the beginning again for a moment, but different rhythmic impulses prevent (like thistles in the text of the song!) any blossoming of the violin. Again and again, violent surges in the orchestra. The violin and its motifs have no chance against the irregular rhythms and clusters of sound in the orchestra, but at least the violin holds its own.

Episode 5 (from Fig. 36+4, approx. 2 minutes long):
Unexpectedly, the violin then stands briefly in the bright light of high string accompaniment. A lone trombone rises in three-second steps, horns answer with a downward motif. The calm is only brief, however, as the oppressive masses of sound gather again. The excitement is also transferred to the violin, which then sinks, exhausted by high dissonances, to a lonely note on the G side. But it cannot assert itself with its intense melody on the G side against the orchestra's many-rhythmic sound density.

Episode 6 (from Fig. 41, approx. 5 ¼ minutes long):
A new run-up by the violin leads to a melodious motif in the woodwinds, which is taken over and spun on by the violin on the G side. This briefly brings melodic peace to the violin, even though the orchestra's garish woodwind runs and humming basses counteract it hectically. The violin goes its own individual way, but is repeatedly disturbed. A fierce intervention of the brass and string quarter rhythms push their way forward. Now the violin is also infected by the hustle and bustle, the sound becomes louder, once again the violin begins to sing, but a slowly more and more dominating upward striding of the brass leads to a brief eruption. The violin reacts with high interjections, woodwind figures interfere, the violin is driven up to a lonely height by the insistently advancing orchestra, and suddenly left all alone, it seeks a way back from its extreme height slowly down to the G side.

Episode 7 (from Fig. 56+2, approx. 6 ½ minutes long):
An episode follows, at the beginning full of nervousness and stress in the solo violin and woodwinds. This nervousness increases, becomes louder. Brass join in until brutal blows from the orchestra (first the drum, then string pizzicatos, dark pointed brass blasts and thumping percussion) increase the aggression.
When the violin has regained some space, its countermelody with the triplet becomes briefly audible, but a little later the violin is again almost completely covered by the masses of sound, while motifs derived from the Barefoot Song again take part in the confusion. Timpani beats. One special moment stands out briefly: a rhythmically highly concise motif in the horns announces itself several times, the violin plays against it. After a drum beat, the brass are silent for a moment; solo violin and strings dialogue melodiously with the woodwinds. Only when an upbeat motif begins to assert itself in the violin and orchestra are the timpani and brass also back. But the violin begins a kind of individual cadenza, and is suddenly left all alone with its heavy triple stops.

Episode 8 (from Fig. 76 +2, approx. 6 minutes long):
Dark clarinet and bassoons set in. Extreme leaps of the solo violin and woodwind melos stand against each other. More and more, a specific rhythm asserts itself in the violin, the tuba steps downwards determining everything.  The violin searches for its melody, trying it out upwards and downwards. The brass instruments reappear and dominate the progress of the sound with their motifs. At least the violin uses brief moments of calm to develop its melodic motifs further, in defiance of the oppressive environment. Now and then there is an attempt at dialogue, especially between the violin and the woodwinds, but again and again the brass pushes forward. Nevertheless, the dialogue between the woodwinds and the solo violin conquers more and more space. Thus, after the full orchestra shows off, there is a fine interplay between the solo violin figures and the flute/oboe melody. The tuba enters solo and plays a chant-like melody in the lowest register with echoes of the Barefoot Song. Violin figurations accompany a melody played by flute, piccolo and orchestral violins in a high register. Short halt.