It is in classical sonata form. The first theme, which has an unusual sound beginning with the repetition of the tonic and dominant in A minor, starts pp in the piano's low register, with the violin expressively taking over the melody. The second time, it is played f by the cello and piano, eventually reaching a rich sound with great power. The transition section has a dance-like character, with the same rhythmic pattern as the theme but an accent on the third beat, and its power is maintained for a while at ff. A short motif with a double-dotted rhythm appears within the transition. Once, a variation of the first theme is gently played by the violin in B-flat major, but it returns to ff, and then again, a variation of the first theme is played by the cello in G major. The extended cello melody, retaining its soloistic character, leads directly into the second theme. In contrast to the powerful first theme, the second theme in C major has a gentle, chorale-like sound. A violin melody of unadorned beauty is played over quietly sounding piano four-note chords. Marked by the double-dotted motif that appeared in the transition, the second theme is then sung out sonorously by the string unison at ff.

First Movement: Allegro, A minor, 3/4 time

In the development section, a variation of the first theme's motif appears in the piano's low register, similar to the opening, followed by the gentle second theme's motif played by the violin. The tranquility quickly changes, with repeated violin chords and a fierce arpeggiated piano melody layered over the low-register first theme motif. The intensity momentarily subsides, then reaches a brilliant and passionate climax in E major, using the second theme's motif. The first theme's motif is repeated in E major, gradually quieting down, eventually becoming fragments of the tonic and dominant, and finally only the tonic, ending the development section at ppp.

After the recapitulation is played as per convention, the first 20 measures of the coda are identical to the development section, differing only in key, leading one to wonder if the development section is being played again; however, the second theme's motif is eventually taken over by a beautiful dialogue between the violin and cello. The ending, where the first theme's motif becomes fragmented and eventually only the tonic remains, is the same as the ending of the development section. The coda of this movement can be described as a condensed version of the passionate development section.

Second Movement: Scherzo, D minor, 3/4 time

It is in compound ternary form, with a trio as its middle section. The most notable characteristic of this scherzo is undoubtedly the treatment of an extremely simple two-note repeated figure as a motif, which permeates throughout the main section (first part and recapitulation). The middle section, marked meno mosso, begins in B-flat major with a 32-measure piano solo. This long solo is not virtuosic; it is simple, with the left hand repeatedly playing a low tonic pedal on the first and second beats, and the right hand playing chords with the theme's melodic line as the highest note on the third beat. As the piano continues to play similarly, the melodic line is clearly delineated by the string unison. The middle section's theme develops through various modulations, and as the latter half of the middle section approaches, the repeated figure appears like a drone in the piano's low register. This repeated figure is played alternately by the piano's right and left hands, leading into the recapitulation. The coda, similar to the latter half of the middle section, features the middle section's theme played over the repeated figure, and concludes concisely with string tremolos and a simple ascending piano figure.

Third Movement: Largo, F major, 2/4 time

The slow movement can be described as an irregular compound ternary form with variation-like ornamentation. The main section's theme, marked 'con molta espressione' (with much expression), is a simple and beautiful melody. The theme is first played by the piano, with the strings joining in. The middle section begins in the parallel minor, F minor. The middle section's theme, which conceals an inner strength, shares a commonality with the opening theme in its use of stepwise motion. The main section's theme is superimposed on the middle section's theme, building in intensity towards a climax in A major. In the recapitulation, while the theme played by the strings is gentle, the piano is adorned with diverse and intricate ornamentation. Finally, it quietly converges, accompanied by piano ornamentation.

Fourth Movement: Finale, A minor, 4/4 time (with some sections in 3/4 time, such as the introduction)

The final movement is a large-scale sonata form with an introduction. The introduction alternates between the scherzo from the second movement and a dramatic violin solo reminiscent of an operatic recitative. The exposition begins with a virtuosic piano solo. The first theme also appears in the piano. It builds in intensity with the piano's intricate sixteenth-note figures, and then the strings passionately play the first theme. The beginning of the second theme is marked meno mosso, but its march-like character suggests that all the characters introduced so far are now assembled and marching forward. Based on its character, the second theme can be divided into a lyrical Second Theme A and a lively Second Theme B with a triplet rhythm. The development section can be divided into four parts: Part 1 is a development of the first theme in C major, and from Part 2 onwards, it modulates through various keys. In Part 2, the dotted rhythm of the first theme is played by the piano, while Second Theme B appears first in the strings and intertwines with Second Theme A. Part 3 is a development of the march-like second theme, and Part 4 has a structure almost identical to Part 2.

Once the recapitulation is played, a roar of piano tremolos interrupts, and with the motif of Second Theme B as a call, a recitative-like melody, similar to that in the introduction, is played by the violin. The coda is extremely intense. It becomes prestissimo in 3/4 time, and the motif of the first movement's second theme appears in A minor, loudly proclaimed by the violin. Afterward, it returns to 4/4 time, and the dotted rhythm, characteristic of the final movement, continues to accelerate until the very end. The motif of the final movement's first theme is played by the strings, and the ending descends chromatically, bringing the grand trio to a close.