The source of the theme is the second movement of the third piece from Albinoni's Trio Sonatas, Op. 1 (Venice, 1694), originally a work for two violins and basso continuo. Bach borrowed several other materials in addition to the theme. For example, in the third measure of the opening, the sixteenth notes following the theme are a melody that was used as a counter-subject in the original work. However, Bach does not establish a clear counter-subject in this work. Rather, to make each successive theme clearly audible and to advance the piece dramatically, he chose a simple texture spanning a wide range. Thanks to this, the so-called "entries of the theme" become clear through the addition or reduction of voices and momentary changes in register, even without the performer exerting special force. The entire piece is structured around the presentation of the theme, and elaborate development of thematic material or complex contrapuntal techniques are not observed. Once the theme concludes with a trill, the subsequent section quickly rushes forward to prepare for the next theme.

The breathless torrent reaches its climax in the stretto of measures 75-79, and is held back, maintaining tension, at the dominant chord reached via the arpeggiated chords of measures 85-88. After a rest, the music sweeps across the keyboard from end to end with an unstoppable momentum, intensifying further over a low pedal point. This dizzying sense of acceleration is a typical closing technique in the German keyboard music tradition. Unfortunately, however, it is extremely difficult to fully perform this pedal point and arpeggiated figuration on a modern piano, requiring the use of the sostenuto pedal or a change in register.