This work is thoroughly grounded in the style and mood of 19th-century romanticism. The solo part features dulcet melodic lines as well as lots of those glissandi and arpeggios that only a harp can produce, and the orchestral parts are vibrant and alive as they support and alternate with the soloist. In short, this work has everything you would expect to find in a romantic harp concerto.

The opening Allegro moderato begins low in the horns and timpani. Violins reply with a sighing phrase that articulates the emotional tone of most of the movement. Woodwinds come in with some thematic material, and the harp's first entrance is not far behind. The mood alternates between a mild underlying sadness and a more hopeful confidence. The sadness often wants to take over but never does so.

The harp and one horn start the subsequent Adagio at a pavane-like pace. After the first few phrases the strings take over for the horn, and togther with the harp they tenderly explore an ever-increasing but never overwhelming sadness. Sometimes the harp supports the strings, sometimes the strings support the harp, and sometimes they dialogue imitatively.

The harp sounds a bit miffed as it starts out the scherzo-finale. The first tutti retains this mood, then the harp returns with the first of several more hopeful tunes. These two moods alternate until the triumphant ending with its turn to the major mode. The accompaniment features frequent trumpet fanfares which provide an unusual and very effective support for the soloist.

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