First Movement E minor 3/4 time

It adopts a structure that imitates a concerto-style sonata form; however, since the exposition does not employ tonal contrast as its organizing principle, it is, similar to the opening movement of the F minor Concerto, more of a large three-part form than a sonata form.

At the outset, an E minor theme is presented, characterized by a motif featuring an embellishing tone figure and an ascending arpeggio (E→D#→E→G→B), alongside a lively motif descending with a dotted rhythm. The former motif appears throughout the movement. Subsequently, a melancholic cantilena-like theme emerges (mm. 25ff). In the lower voices, the aforementioned opening motif resonates like a sustained bass, and following a transition based on this motif, another cantilena-like theme is sung in E major (the parallel major) (mm. 61ff). The two cantilena-like themes share the characteristic that each phrase remains largely within one octave, and they primarily employ stepwise motion to create an arch-shaped melodic line. This exemplifies Chopin's bel canto-like melodic beauty.

Following another transition based on the opening motif, the solo piano enters (mm. 139ff). It first restates the two E minor themes, accompanied by virtuosic ornamentation. The subsequent transition (mm. 179ff) is expanded by a chain of improvisatory piano passages, within which the embellishing tone figure and descending figures of the opening motif are interwoven.

Led by a swirling figure marked "appassionato," the E major theme is restated. This is followed by a relentless chain of virtuosic passages, leading to the codetta.

The development-like second section (mm. 385ff) begins with the second theme (the E minor cantilena) transposed to C major (the VI degree). Subsequently, with virtuosic piano passages serving as a "background," the orchestra repeats the opening motif in a sequential manner, after which a rapidly descending chromatic scale in the piano, accompanied by a prolonged dominant chord, leads to the recapitulation of the theme.

In the third section (mm. 486ff), which recapitulates the themes, the orchestra presents the opening theme, while the solo piano takes on the two cantilena themes. The major-key cantilena theme is transposed to G major (the relative major of the tonic) (mm. 573ff). This is clearly intended to lead to a coda in the tonic key and should be understood as a strategic tonal setting rather than a formal originality.

A dominant progression to E minor returns to the tonic key, and, similar to the first section, an orchestral coda follows the virtuosic transitional passage, bringing the movement to a close.