Formally, this movement follows the classical sonata movement scheme, first a rhythmically wild, almost crude first theme (with echoes of Eastern European Jewish violin music, only more sinister), then a second more lyrical theme accompanied by celesta and harp. Regarding the coarseness, violinist Linus Roth once said: "There is something about his music that somehow always disturbs you". And really: the full-throated chords, the repeated motif fragments on low strings, the rhythmic wildness give the piece something manic, something morbidly searching, an expression of fear and threat. The violin feels driven, plunges into the wild development of the first theme and its fierce insistence, flees from the orchestra, which breaks out violently again and again, and increases in the madness of manic repetitions. The second theme, too, only slightly succeeds in calming the situation somewhat; this theme, too, remains searching, often slightly enraptured by celesta and harp sounds, seems glassy and cool. When the second theme returns in the recapitulation, one hopes for a fading, calming end, but once again the first theme rages, no chance of escape.

Beginning in a dark unison, rising and disappearing again, the strings of the orchestra prepare the entry of the solo voice. The muted violin (con sordino) immediately begins again with a manically insistent motif that repeats itself constantly, only somewhat more subdued, as if the psychologically distressed violin had been given medication, but something morbidly anxious, something disturbed continues to seethe. Woodwinds take over and mirror these long melodies of the muffled violin, as if the violin were hearing voices following it. But everything is always very indifferent, almost still at the end, before the violin then leads (formally in a kind of cadenza) to very high, glassy, but also expectant notes that lead attacca to the next movement.

But then the frenzy breaks loose again, a dance, joy or rather wild despair? The orchestra begins, is it a dance or a march, joy or violence ... the violin storms off ... again not without these magical motif repetitions in the melodies. A flute motif is followed by a quiet phase which still contains these repetitions, but calmly accompanied by an understanding orchestra. A certain weariness sets in. But then this march, the trumpet motifs, the timpani beats come again and again, pushing forward. The violin follows, trying to adapt, or is it trying to escape?  After several fierce, threatening timpani beats, the opening motif of the first movement appears again, but the violin flees into a G major dream world (of art?). It fades away very high on a G, received by a melodious major chord from the orchestra.