The first movement is in sonata form, so it is possible to find an exposition, performance and repetition in the style of classical sonatas.

The movement is written in 6/8 bar, and although you will not find any sixteenths in it, the tempo is fast. The relatively exciting main theme is replaced by a contrasting cheerful, naive side theme, which results in a short area of the final theme. Repetition of sonata exposure is not mandatory, but when you play it, it will sound good.

The performance of the sonata offers new musical ideas and new tones. It is built from a modest introduction to a magnificent center and a dramatic conclusion, which results in a repetition of the first movement.

Reprise is shortened. We will not find the main theme of the sonata in it, but we will go straight to the secondary theme, which is now in the main key in D minor. The rerun offers a repetition of the musical ideas of the exhibition with minor variations. The conclusion of the first movement is effective. The movement works in a coherent way and if you play it alone, it will also be a nice effective part of your repertoire.

The second movement is in tempo andante grazioso, i.e. „step and gracefully“. It forms a complete opposite to its two adjacent movements. It is in the dominant key of A major, and with Mendelsohn’s accompaniment and Chopin’s melodies, it resembles a dream from which you will not want to wake up.

Its form is a free ABA without strict boundaries. The music floats here like a river that flows through different tones. The middle part of the movement has an exciting character, as if waves were suddenly made on the calm sea. But it doesn’t take long and we will return to the dreamy atmosphere. The movement ends with the music being blown into a pianissimo, leaving behind only memories of a sweet dream.

The first bar of the third movement pulls the listener out of the dream atmosphere of the second movement. It starts in a hurry, fearlessly on a reduced septacord, and from the first tones it rushes excitedly forward. The theorem has a Brahms character. It does not lack dynamics, chord passages or fast technique.

Its form is again a free ABA with elements of the sonata form. The excited end parts are replaced in the middle part by a mazurka, which is light, airy and carefree. After it ends, the movement plunges into the storm again and the movement ends with a monumental conclusion.