The Rondo unfolds with a cheerful theme, seemingly forming a counterpart to the first movement, which begins with a graceful theme. The reversal of the melodic role, from piano to violin, compared to the first movement, is notable, perhaps indicating an intention to balance the outer movements as a pair. It is also noteworthy that the melodic line of the Rondo theme—a half note followed by an embellishing tone and a descending figure—bears a strong resemblance to the opening theme of the first movement.

Considering the equality of the piano and violin, the melodic voice is initially carried by the piano in the Rondo theme, while the violin takes precedence in the episodes. In the D minor episode of the middle section, virtuosic triplets, reminiscent of those found in concertos, appear in succession. Furthermore, while the Rondo theme is initially presented as a piano solo at the beginning of the movement, the violin's involvement gradually increases with each subsequent return of the theme within the movement. Finally, when the complete Rondo theme reappears, the violin presents a variation of the thematic melody against a background of light arpeggios from the piano. Thus, this series of thematic returns reveals a clear evolution in the roles of the two instruments within the theme.