Ternary form. Each section is dominated by a specific rhythm, characterizing them so strongly that they appear to be distinguished from each other by it. That is, the first section (let's call it A) features a tranquil, syncopation-centric theme played homophonically. The middle section (let's call it B), beginning in E-flat minor, is woven around two melodies: the first, appearing in the cello, is centered on syncopation, creating a connection with section A; meanwhile, the melody spun in the piano's high register is accompanied by a uniform rhythmic chordal accompaniment, and this eighth-note pulse continues throughout the entire section. As the piano transitions to flowing sixteenth notes, as if liberated from this rhythm, the string material also becomes the main theme of section A, entering a modulatory section, and the accompanying rhythm is maintained, leading to the recapitulation of section A. In the coda, which is about a quarter of the length of the entire movement, previously introduced material appears one after another. Furthermore, after a partial recapitulation of the music from section B, a climax is formed through the piling up of motives, a crescendo rising to fortissimo, and chromaticism, resulting in substantial content that could be considered an independent section. The elevated music immediately diminishes in dynamics, and finally, the note values of the motives are extended, quietly concluding the movement.