[Movement 1] Allegretto

3/4 time, sonata form, in E. It possesses very clear formal characteristics, such as the end of the exposition being announced by a horn solo, and the end of the recapitulation (the final cadence of the entire movement) by a flute solo. On the other hand, the framework of sonata form is utilized to its fullest, for instance, the first theme, which was in unison in the exposition, becomes polyphonic in the recapitulation. Key signatures are not used; instead, changes in the melodic fundamental bring about shifts in sound akin to modulation, but the so-called diatonic leading tones (such as D♯ for E) are avoided.

[Movement 2] Adagio religioso

4/4 time, C major. A three-part form with a contrasting middle section. Sections A and A' are clearly in C major and possess a religious character. The chorale-like chord progressions present in the piano part in section A are handed over to the orchestra in section A', while the piano part plays a fugue. Section B is tonally indeterminate, and decorative figures by the piano and wind instruments are prominent. It is known from letters to his son Péter and other sources that the flute figure appearing here imitates the call of the Hermit Thrush, which Bartók heard in North Carolina.

[Movement 3] Allegro Vivace

3/8 time, free rondo form, in E. It is a rapid rondo in 3/8 time, contrasting a rondo theme with prominent syncopated rhythms with lyrical episodes. While many rondo movements take the form A-B-A-C-A-B-A, this movement adopts the form A-B-A-C-A-D-A, where the episodes are different each time. Section B is a fugue based on C♯, developing from a piano solo to a tutti. Section C is further in a three-part form within itself, with a pastoral melody based on B♭ softening the mood. Section D is very short and serves more as a coda leading to the final rondo theme rather than possessing an independent melodic line.