It begins with a muffled quartal glissando, as if an orchestral group had just set out on a processional, pleading and begging. The soloist joins in, responds with a continuing ascending phrase that ends in a fourth glissando of her own. The orchestra, pressing forward, repeats the plea, the violin tries to understand, repeats the quarto glissandi, cares and advances in slow fine notes, accompanied only by the first orchestral violins, as if to take the pleas upon itself, but the muffled orchestral group repeats the pain, slowly also coming into motion, following the violin, deep pizzicati in the bass advancing, exhausting itself. The violin advances spherically, accompanied by soft vibraphone, oboe and flute sounds. But all the quiet and excited invocations are of little use in the face of all the suffering in the world (or do the dull orchestral group sounds sound more harmoniously reconciled?). The violin becomes more and more excited in its ritual, it plays its empty fifths almost desperately against the fourths of the dull orchestral group, the spiral turns until the violin - finally almost alone - is exhausted. Enveloped by fine iridescent orchestral sounds, it loses itself sine misura in harmonics and spherical heights.

This is immediately followed by flautando string tremolos wrapped in clouds of vibraphone, from which the solo violin quietly emerges and begins an increasingly dance-like up-and-down motif. Strange bass snatches join in and drive the dance forward. The woodwinds take over the dance motif, creating a rhythmic whirl that increases until it is exhausted for a moment in a resting great sound. Then the dance motif begins again, accompanied by bass glissandi. In all the sound events, the violin also reveals its empty fifths, harmonic glissandi underline the dance motif in the high flutes. The rolling bass is increasingly taken over by the trombones, hard xylophone beats lead to an eruption. But the dance motif lives, glissandi accompany its swinging out, a brief uprising. Conclusion.

Attacca, the soloist plunges into a breathless dance, hurrying ahead of everyone, the orchestra tries to catch up with the violinist, which succeeds briefly, but the violin immediately flees again and the orchestra searches for the right accompanying rhythm to the freely swirling dance, as if it needs ... blood to the bones.  Once again the violin slips away, but the orchestral accompaniment becomes more rhythmically determined and finally catches up with the violin again in a harmonically large chord and calms the hectic. In unreal sul ponticello playing, the violin slowly emerges from its trance and falls silent.

The solo song of a lonely, plaintive bassoon rises from a dull depth. Not long, then the solo violin with its empty figurations of fifths takes pity, accompanies the lament and sings a consoling chant reminiscent of the opening procession of the concerto. Now, however, the violin keeps the lead and slowly leads the whole orchestra higher and higher. Carried by rhythmic basses, the full orchestra follows and breaks off unexpectedly. For a moment, the violin hangs alone in the void.... a wipe and everything is over.