First Movement (Brightly, Joyfully)

G major, 2/2 time, sonata form. Immediately at the opening, the first theme is presented by the piccolo accompanied by a whip sound, and the piano part's arpeggiated chords begin. While the right hand of these arpeggiated chords follows the main melody in a G major cadence, the left hand plays what appears to be an F-sharp major chord, a semitone lower, creating tension. The second theme begins with a piano solo, featuring impressive jazz-like wind instrument passages. The development section is very short in relation to the entire movement, but the piano takes the lead by playing parts of the first and second themes in a percussive manner. The recapitulation is an extension of the development section, with the first theme played by the piano using percussive sounds. In the recapitulation of the second theme, the piano first reveals the entire second theme, after which the orchestra repeats the latter half of the second theme, followed by short cadenzas for harp and woodwinds, leading to a long piano cadenza. This cadenza deliberately avoids using the themes; instead, the left hand polyphonically plays the closing melody of the exposition, accompanied by arpeggiated chords, beneath the agile trills of the right hand. Finally, the first theme emerges again from the piano's percussive figuration, played by the wind instruments, bringing the movement to a brilliant close.  

Second Movement (Very Slowly)

E major, 3/4 time, ternary form. Although in 3/4 time, the left hand of the piano part plays in 6/8 time, creating the impression of long and short triple meters running in parallel. Initially, there is a clear structure where the piano plays the main melody, followed by the orchestra. However, in the middle section, the form becomes somewhat less defined, with more improvisatory passages in the piano and unstable tonality. In the recapitulation, the English horn takes the main melody, while the piano continues to play beautiful embellishments.  

Third Movement (Rapidly)

G major, 2/4 time. This is a brilliant final movement featuring toccata-like virtuosic piano parts and improvisatory wind instrument passages. The movement is articulated by sharp chords and rests that sound like a distorted major cadence, which also serve as the opening of the movement. Initially, the piano part accompanies the improvisatory passages in the orchestra with vigorous arpeggios in perfect fifths. However, when the “distorted cadence” appears for the second time, the piano for the first time plays a melody consisting of parallel triads, which seems to be the first theme. As this theme spreads to the orchestra, the piano ascends to the high register and plays the “distorted cadence” again, announcing the arrival of the next theme. The second theme is a fanfare-like melody with triplets, primarily played by the brass instruments. The piano also follows this second theme, but upon the reappearance of the “distorted cadence,” it embarks on a separate virtuosic and polytonal solo, distinct from the orchestra. Once the piano pauses, the orchestra begins to play fast, continuous figures from the low register, from which the first and second themes emerge in various instruments. Eventually, both the piano part and the orchestra take up the thematic melodies, leading to a temporary climax. Then, as if preparing for an even more brilliant conclusion, the piano part re-enters with a polytonal solo, finally involving the orchestra and grandly sounding the “distorted cadence” to bring the work to a close.