This movement contains several cadenzas, and first, a sense of direction leading towards them is desired. Before a cadenza, the texture often becomes octaves (unison), which can be taken as an indication of an approaching cadenza. For example, starting from measure 1, a unison begins in measure 9. Considering this as a tutti section, the volume should be relatively loud, leading to a G minor cadenza in measure 10.

Regarding the path leading to that unison + cadenza, the key is to maintain polyphonic order, ensure voice independence, and vary the timbre as if each voice were played by a different instrument.

In this movement, the main theme is from the first beat of measure 1 to the first beat of measure 2. The melody line in the right hand from the fourth beat of measure 10 to the third beat of measure 12 serves as the secondary theme. For two-thirds of the piece, this secondary theme begins after a cadenza.

In the latter half, the movement becomes even more complex; the main theme may begin after a unison, and a greater sense of busyness and tension emerges, concluding with the main theme plus a cadenza. This movement requires an orchestral scale and a rich variety of timbres.