Movement 1: Andante, 2/4 time

Sonata form without a development section (each part is dramatic enough not to require a development section)

• Introduction (F minor): Announces a tragic yet dramatic beginning.
• First Theme (F minor): An impressive march-like, solemn melody.
• Second Theme (C minor): Surprisingly, the left-hand passage from Chopin's 'Revolutionary' Etude appears in the right hand, showcasing overwhelming technical work.
• Recapitulation of the First Theme (F minor): The march-like melody is sung, supported by triplet accompaniment.
• Recapitulation of the Second Theme (F minor): The 'Revolutionary' passage, further intensified, is deployed with unrestrained freedom.
• Coda (F minor): The Second Theme reaches its climax with trills. The movement concludes with a storm of double octaves and the resounding 'Revolutionary' passage.

Movement 2: Veloce, 6/8 time

• Main Section (D-flat major): A peaceful and tranquil movement, a stark contrast to the first. A refreshing, breeze-like theme appears lightly.
• Middle Section (E-flat minor): An impressive melancholic melody.
• Recapitulation of the Main Section (D-flat major): The same melody as the main section is sung again.
• Trio (B-flat minor): Elegant octaves playfully interact.
• Recapitulation of the Main Section (D-flat major)
• Second Trio (B-flat minor): Like the first trio, it is danced primarily with octaves.
• The Main Section, Middle Section, and Main Section are repeated, bringing the movement to a close.

Movement 3: Allegro spiritoso

Sonata form without a development section (each part is dramatic enough not to require a development section)

A headlong rush of sorrow and passion.

First Theme (F minor): Sorrow is sung over a rushing left hand. However, before one can indulge in sentimentality, mental conflicts relentlessly assault. Various developments, akin to seven transformations of octaves, are applied.

Second Theme (A-flat major): The only ray of hope emerges. The theme is firmly established, played sonorously in octaves. In the latter half, a third theme, brimming with a new spirit, is brilliantly launched.

Recapitulation of the First Theme (B-flat minor): Again, a rushing sorrow and passion. It features further octave and technical developments.

Recapitulation of the Second Theme (A-flat major): The Second Theme, drawn in by the surging First Theme, undergoes a power-up, a stark contrast to its previous appearance. Here, the ray of hope elevates to a fanfare of triumph, sung out resoundingly.

Coda (F minor): Everything is colored by octaves: double octaves, broken octaves, Liszt octaves. The movement concludes magnificently with a storm of passion and the resounding bells of a grand cathedral.

A technically demanding yet spiritually profound piece, befitting Liszt's rival, Dreyschock. It also served as an arsenal for battling the great Romantic pianists such as Wolff, Henselt, Liszt, Rosenhain, Döhler, Chopin, and Thalberg.