First Movement: “Fast, lively”

G minor, 3/4 time. It is in ternary form, but the A' section is considerably more condensed compared to the A section. The alternation of minor and major triads is used in both the double stops of the opening piano part and the melody of the violin part, creating an atmosphere of wavering light and shadow (the piano part, incidentally, is precisely the tonic chord of G minor and the Dorian IV). The music, having departed from the tonic chord, does not easily reach a harmonic resolution, finally converging on a clear G minor cadence at the point where rehearsal mark 1 is entered in the score. However, what appears immediately thereafter is a pentatonic scale of G–A–C–D–F and a band of chords derived from it; G minor again recedes into the background, and the music shifts to the B section. In the B section, the piano remains in 3/4 time, focusing on creating the foundational sound, while the violin plays a sharp melody in 2/4 time. The key signature shifts from four sharps to no key signature, then to two flats (the original G minor), but this indicates not so much a tonal function in the piano part as that the piano part consists solely of major triads based on E and major triads based on C. And what connects these two chords is a very beautiful passage of shifting open fifths. As soon as the key signature returns to two flats, the melody played by the violin at the beginning reappears in both parts, and the music proceeds to the A' section. In the A' section, despite a brief and intense digression midway, the opening melody continues to repeat, and the music converges.

Second Movement: “Intermezzo (Capriciously, lightly)”

2/4 time. Although the key signature is G major, the only part that can be identified as G major is the final six measures of the movement; indeed, in the preceding sections, it even feels as if the I-IV-V chords and perfect consonances, which should form the backbone of harmonic progression, are carefully avoided. The entire movement is constantly enveloped in tension due to chromatic note arrangements and fragmented rhythms. Regarding its form, it cannot be categorized as a so-called standard form (such as sonata form), but based on the types of melodies and tempo indications, it can be divided into:

• Introduction (18 measures)
• A (8 measures)
• Interlude (19 measures)
• A (14 measures)
• B (12 measures)
• C (11 measures)
• A (18 measures)
• C (11 measures)
• A' (8 measures)
• B (10 measures)
• Coda (6 measures)

The inability to divide it into sections of equal measure numbers precisely reflects the “capricious” nature of this movement. However, the A melody always has the indication “au mouvt [abbreviation of mouvement]” (with movement), and the C melody always has the indication “meno mosso → Rubato” (slower tempo → Rubato). Therefore, by strictly adhering to these tempo changes during performance, the structure of the piece becomes clear.

Third Movement: “Finale (Very lively)”

G major, 3/8, 9/16, and 6/16 time. If the theme melody is regarded as a simple yet exotic violin monophony that directly utilizes the G major scale, then the latter half can be considered a rather freely constructed rondo form. First, in an introduction centered on the double dominant of G minor (C♯–E–G–B♭), the violin's opening melody from the First Movement emerges. However, that melody fades away with the piano's chromatic harmonic changes, and instead, the theme melody appears brightly. It is also characteristic that only this theme melody is rewritten in 9/16 time. However, the melodies presented by the piano in response to the theme melody often include notes not found in the G major scale, and the music is once again returned to a chromatic character. After the violin's theme melody and the opposing piano part contend twice in this manner, a gentle interlude appears. The interlude is an elegant and melancholic passage based on B minor, with the violin playing a romantic melody and the piano clearly indicating a B minor cadence. However, the appearance of the same figuration as in the introduction in the piano immediately interrupts this elegant atmosphere, and the music enters the latter half. The theme melody, returning to the violin, has its B note lowered to B♭ and is in a lower octave range, lacking the exhilaration of the first half. And 47 measures after the re-emergence of the introduction, the theme melody finally appears in its complete form; however, unlike the purely monophonic violin melody in the first half, it is now accompanied by the piano, centered on an A–C–E chord, resulting in a different atmosphere. Thereafter, after an interlude where the piano plays an expanded figuration of the theme melody and the violin descends a Mixolydian scale, the music enters a coda with an increased tempo. The coda elevates the theme melody from the lower to the higher register, bringing the entire sonata to a brilliant close.