The first movement is a sonata-allegro, but in a lyrical style. The contrast between the two themes is slight. Both are lyrical in character and Tippett culls the theme of the second subject from the first, thereby minimizing the tension between the two themes. Alternating passages of octaves followed by sequences serve as transitions. In the recapitulation, Tippett reverses the themes with the second subject in the subdominant rather than in the tonic. The result is an ABACABA form. The slow movement, a fugue, creates contrast not only in tempo, but also in mood. The subject appears at first to be five measures in length. In reality the subject is seven measures with the final two measures becoming the counter-subject. The scherzo follows providing contrast in both tempo and texture. Tippett presents the themes three times, a third higher with each repetition and a slight modification of the second reiteration. Tippett reserves the main structural weight for the finale, a sonata-allegro form. Integrating the material from the preceding movements, Tippett borrows and transforms the first theme from the first movement, the second from the fugue, and the third from the scherzo. His transformations render his borrowing from the previous movements barely recognizable. The coda is reminiscent of the beginning of the quartet.



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