Sonata form, G minor. The dramatic opening sees the orchestra ascend from p to ff in just seven measures, immediately followed by the piano, which rushes up the scale in octave unison. After a powerful first subject is presented by the piano from measure 20, the first subject is immediately re-presented by the Tutti from measure 37, allowing no pause for breath. For a while, the orchestra takes the lead in the music, but the piano quickly reclaims it with rapid scales in both hands. Following a stormy piano solo in octaves, a lyrical second subject appears in B-flat major from measure 76. The way it modulates from B-flat major to B-flat minor, and then to D-flat major, by layering short two-measure phrases, is truly beautiful. In the subsequent development section, the piano primarily assumes the role of obbligato or accompaniment to the orchestra, as well as harmonic reinforcement; however, its rapid scales and arpeggios particularly accentuate the fervor of the development. From measure 179, an orchestral introductory passage, similar to the beginning of the piece, appears, leading into the recapitulation. Compared to the exposition, the recapitulation is significantly condensed, with the second subject appearing just 17 measures from its beginning. This compositional technique of condensing the movement through rapid development contributes to heightening the work's tension. Although the melody is soon yielded to the wind instruments in the second subject, the piano's accompaniment figuration develops, leading through tempestuous swirling patterns, until an inversion of the introductory subject appears at the climax. The lead is then once again ceded to the orchestra, and a fanfare by the wind instruments is played, serving as a bridge to the second movement. In the fanfare, centered around the B natural in the brass, the music transitions from G minor through E minor, leading to E major of the second movement.