Immediately, a jota, a typical Spanish dance in triple time, leads us into the middle of the musical-rhythmic action. Pointed solo violin figures, glissandi and the guitar-like orchestrated chamber orchestra take over the dance impulses, but repeatedly distort the expectations one associates with a regular dance rhythm. Percussion instruments (crotales, roto-toms, guiro, slide whistles, castanets, piano and others) interfere. The violin uses its pizzicato virtuosity. A fierce beat of the richly scored percussion calms the hectic dance performance. Sounds, rhythms, pizzicato guitar imitation intermingle until everything flows more and more into a fandango and flamenco clapping and finally peters out.

Meditative and slow, the solo violin begins the second movement in a dark tone. Is it melancholy or even sadness after the exuberance of the first movement? Violent blows from the piano and the orchestra interrupt this mood and urge the solo violin to wild rebellion. In time, however, the solo violin follows its own song again. Only when castanets and pizzicato strings join in does the Iberian rhythm of a habanera become glimpsable. The music becomes louder and ends in determination.

Meditative and slow, the solo violin begins the second movement in a dark tone. Is it melancholy or even sadness after the exuberance of the first movement? Violent blows from the piano and the orchestra interrupt this mood and urge the solo violin to wild rebellion. In time, however, the solo violin follows its own song again. Only when castanets and pizzicato strings join in does the Iberian rhythm of a habanera become glimpsable. The music becomes louder and ends in determination.