First Movement: Allegro con brio 2/2 B major

The main theme is introduced by the piano solo and initially played by the piano and cello. The music gradually gains momentum in terms of rhythm, harmony, and dynamics. Unlike the first draft, the violins enter for the first time at forte, making the theme a more melodic and balanced phrase. The descending third of the theme becomes one of the central materials for motivic manipulation leading into the transition.

The new secondary theme, replacing that of the first draft, presents many contrasts with the main theme, such as melodic leaps and chromaticism in the bass. However, it shares commonalities with the main theme, such as the strings later joining the melodic voice to make the theme more lyrical, and the motives becoming more urgent later on. From measure 100, the music gains propulsion through the piano's syncopation and the ornamental variation of the secondary theme, moving towards the codetta.

The development section is a rich ground for motivic manipulation. In the first half, beginning with the establishment of E minor in measure 127, the imitative treatment of the codetta motive commences. When a fragment of the main theme appears in a minor key in measure 137, the piano develops an accompaniment figure from the codetta motive through chord progressions. Here, the imitation of subsequent sections unfolds based on the motive that leads the piano accompaniment. In measure 162, with the main theme as a boundary once again, the music enters a phase derived from the transition.

From measure 175, the string parts, which had largely formed pairs in the development section, become independent, and for the first time in the movement, the strings surround the piano part.

Amidst this new sonority, the music briefly builds up, but soon the overall register begins to descend, and its energy diminishes. As the string parts converge to unison and the piano ceases its descent, the main theme reappears in G-sharp minor from the lowest register of the violins. The double return of key and theme is achieved in measure 197, where the piano becomes the melodic voice. The key structure from G-sharp to B, leading to the B minor secondary theme, is symmetrical to that of the exposition. Incidentally, the transition is shortened in the recapitulation, perhaps because it was also used in the latter half of the development section.

The first half of the coda is a variation of the main theme motive. The latter half focuses on continuous chord presentation rather than melodic and cohesive phrases. Here, fluctuations in dynamics and tempo create an elusive impression, but upon entering in Tempo, the music abruptly shifts to a cascading exchange between strings and piano, culminating in a resolute final build-up towards fortissimo, and the movement concludes with a renewed cadence.