The orchestra and listeners are energised in one fell swoop. Syncopations in the basses, wild horn blasts and woodwind rhythms form a mixture of energy to which the solo violin immediately contributes with rhythmic sextuplet figurations. Until one can really orientate oneself, the solo violin overpowers this driving field of energy with a high rhythmic syncopated theme that gives the whole movement a constant drive. Horn calls, further figurations and the syncopated theme in the violins push on, the solo violin once again ascends to its syncopated theme and drives the wild energy drive forward. Only after a brief lull in the orchestra does the violin section of the orchestra take over the syncopated melody in full sound, which again encourages the solo violin to respond with an energetic double-stopping drive forward.

The bassoons in the orchestra introduce a second thematic group, which gives the solo violin the opportunity to sing out a cantabile, finely spun bow melody, while in the accompaniment the orchestral strings only slightly moderate their continuous drive. The violin solos are accompanied by cantabile horn melodies.

After this somewhat calmer phase, the rhythmic syncopated theme in the solo violin returns from the background.  After a horn outburst and timpani strokes, the strings begin a kind of development section with a striking introduction. Sound interjections and rhythmically twitching figurations from the orchestral instruments follow one another. The solo violin also joins in with its solo contributions to these twitching figurations, while the high woodwinds add glistening melodic arcs.

After a horn outburst concluding this phase (‘subito tranquillo’), a melodically calm, ascending solo by the violin brings some contemplation. The violin can luxuriate in the highest notes for a while, but heavy orchestral voices and timpani begin to interfere. Dark tones turn against the passionately playing solo violin, everything pushes towards increasing confusion, the composer even speaks of sarcastic malice that the diabolical confusion wants to cause.

Finally, the solo violin with its sextuplet figurations confronts all the confusion and leads back to the syncopated theme, which is then immediately supported by the horn calls. The energy field of the opening, which continues to push forward, is reprised.

The second thematic group also returns, introduced by the violin's dark register, accompanied by the horn instead of the bassoon. The violin cantabile carries its melody upwards, which is then taken over by the high woodwinds and counterpointed by horn melodies until the violin continues the melody in a voluptuous manner.

As before the development section, the strings mark the transition, now to the final coda, which is characterised by the same continuous energy as in the entire movement, by fierce horn calls, flute glissandi and rhythmic penetrance. Everything drives towards a wild drumbeat ending.

Violin bell sounds (i.e. slowly moving scales in the violins and violas) open up an imaginary wide space. In it, the violin darkly sketches a wide melody characterised by quaver suggestions, which soon escapes into filigree heights. A clarinet counterpoints the violin melody from a dark sound background.

From the depths, cellos and double basses provide a melodious response to the violin's continuous singing. As other orchestral instruments join in, the imaginary landscape expands in all directions of sound.

A timpani roll interrupts this soundscape, with the wind instruments forming first. The violin becomes agitated, but then leads into a dark, melancholy pavane in the violas' song. In the development section, new registers of sound open up around the melody of the first theme, creating an imaginary melodic space all of its own, which is continually inspired, built up and filled by the solo violin (and especially by horn sounds).

After a few excited violin runs, bass pizzicati finally bring some structure and orientating rhythm to this melodic soundscape. Above this, the violin plays the reprise of the Pavane theme at the highest pitch. The whole orchestra takes over the Pavane theme once again, now in radiant D major, and the violin accelerates its figurations. More and more, however, everything fades into an imaginary distance. The dark melody from the beginning emerges once again, along with repeated memories of the Pavane theme. Everything melts away like a watercolour. Woodwind sounds fade away iridescently, and finally only a few last violin sounds remain.