The concerto consists of three traditional movements, all in
sonata form. However the first movement is largely slow (instead of being fast) and the second is a lively scherzo (instead of a slow one). Principal theme of the first movement (motto) reappears in the third. A typical performance lasts 25–28 minutes, half of which takes the first movement. {{ordered list|list-style-type=upper-roman The first movement opens with a lilting, almost Wagnerian, introduction played by orchestra (
Larghetto calmato). A stentorian cadenza follows, and after a short reprise of the introduction the proper sonata form begins (
Poco più mosso, e con passione). The theme of the cadenza is incorporated in the first subject, while the introductory one is later transformed into the second (in
F major). The development section is interrupted by the reappearing of the initial cadenza, much more elaborated. After this music proceeds to the recapitulation. Soon states orchestral tutti the main theme, after which the cadenza is heard for the last time. It ends in a gloomy mood. The orchestra repeats the principal theme in D minor, sounding like a funeral march. Surprisingly the soloist soon changes the key to
D major, which becomes the key of the second subject. The movement ends peacefully with a brief coda. The tone of the scherzo has much in common with the final of MacDowell's
First Concerto. According to the composer, it was inspired by
Ellen Terry's portrayal of
Beatrice in
Much Ado About Nothing. The first subject here is a
perpetual motion theme, it sounds somewhat folk-like when played for the second time. Then comes a more lyrical second theme in E-flat minor, which after a shortened version of the first subject is repeated in B-flat minor. A new, full reprise of the scherzo theme is heard and leads to a coda. The finale is the most complicated movement. It begins again with a dark introduction (
Largo) recalling the main theme of the first movement. Even the piano cadenza manage to reappear. This section is in D minor, but the finale itself (in an unusual ¾ time) turns out to be in D major (
Molto allegro). Its main theme gives place soon to a second idea (
Poco più mosso, in F major), rhythmically pert and skittish. Nor statement of this requires long time, and a new valse-like theme (in
B minor) is presented in the brass, which is derived from the principle theme of the first movement. After some 30 bars it ends abruptly with piano stating the cadenza theme (
Poco più lento). The recapitulation of the first theme entrancingly imitates
musical snuff-box; it is slightly expanded and lacks the final section. Different reminiscences upon the valse theme follow (mostly in D major, showing it to be the real second subject of this movement) before the skittish melody returns (
Poco più mosso, again in F major). It is followed by the final section of the first theme and the coda providing a most brilliant conclusion. == Recordings ==