First Movement (Andantino con moto Allegro): G major, 3/4 time.

The tempo marking at the beginning of the piece, "Andantino (faster than Andante) con moto (with motion) Allegro (fast)," combines three tempo indications. However, the Henle edition states that it "probably means something close to Andantino con brio (a lively Andantino)." The primary thematic material consists of a smooth sixteenth-note melody played by the violin at the outset and an elegant triplet melody first introduced by the cello at measure 106. The movement develops as these two melodies are modulated and fragmented. If these melodies are designated as the first and second subjects, the movement can be divided into an exposition (beginning to measure 151), a development section (measures 152-232), and a recapitulation (measure 233 to the end). The development section is approximately half the length of the exposition, and the recapitulation is less than half the length of the development, indicating a condensation of the music towards the end of the movement.

Second Movement (Scherzo-Intermezzo): B minor, 2/4 time, ternary form.

The opening nine measures serve as an introduction, leading to a V₇→I cadence in B minor through a succession of dominant seventh and dominant ninth chords. Subsequently, a charming yet melancholic main melody appears in the piano. Initially, the violin and cello play ornamental figures that serve as counter-melodies to the main theme, but they eventually join the main melody, supporting the piano part. In the middle section, both the slow melody presented by the cello and the sharp, dotted melody presented by the violin assert themselves, creating an effect where light and shadow, stillness and motion, contend with each other. Furthermore, the A♯ functions as a leading tone in the cello's melody and as a dominant in the violin's melody, creating a slightly wavering tonal atmosphere. While the middle section is contrapuntally and harmonically elaborate, the recapitulation concisely concludes the movement.

Third Movement (Andante espressivo): G major, 4/4 time, ternary form.

With an introduction (4 measures) → A (20 measures) → B (23 measures) → A’ (20 measures), this movement exhibits a highly balanced form compared to the preceding two movements. The main melody is also very simple, first presented by the cello and then taken over by the violin. In the B section, a melody incorporating triplets, introduced by the piano, takes the lead and is passed to the violin and then the cello. In the A’ section, the main melody is entrusted solely to the violin, while the cello provides a quiet accompaniment in eighth notes and the piano in sixteenth notes, creating a remarkably beautiful soundscape.

Fourth Movement (Appassionato): G minor, 6/8 time.

Free rondo-sonata form. The main melody is presented in unison by the piano and is frequently played in unison by the violin and cello thereafter, making it highly impactful. In contrast to the melancholic main melody, a short dotted melody, first appearing from measures 26-29, modulates and expands as the piece progresses, pulling the music towards a brighter direction. If the elegant melody appearing from measures 64-90 is considered a variation of the main melody, and measures 64-134 are interpreted as a development section, then the form can be understood as an A-B-A-Development-A-B-A rondo-sonata form. The main melody, appearing for the final time, is grandly played in unison by the violin and cello amidst thick piano chords, then modulates to G major, leading to a brilliant conclusion.