The soloist and violins, harmonized by the rest of the ensemble, begin this work with a powerful entrance on the theme. Built from two rolling triplets followed by a succession of accented eighths, this theme has a strong flavor of a tarentella-like native dance. The second part of the theme in onrushing 16ths has an interesting shift of accent in its pattern. The first statement is followed by a bridge on a conventional progression with the soloist commenting on the triplet fragment of the theme.

There is a brief variation on the offbeat accent motif, which is also the first opportunity for the oboist to exploit the slight crescendo inflection typical on that instrument's held tones. A standard bridge with variants on the triplet fragment leads into a restatement of the theme in the sub-dominant key (D minor) by the soloist and orchestra.

Again, the soloist is given held tones, separated by scale runs, that allow the lyrical aspect of the oboe to be shown. The theme is heard again, this time in F major. This is interrupted by flashy runs and trills, and a figure with a series of small 16th-note hops for the soloist. Another bridge section leads to a second type of hopping figure, followed by two measures of spectacular runs and trills. The theme is recapitulated in its entirety as the movement closes.

The second movement is in a Larghetto tempo, but is set in the relative major key (C major) and employs the simplest of harmonizations so that it is always bright and gentle. Both the soloist and orchestra play a charming theme entirely in staccato, except for one fermata chord (the dominant G major in the very middle of the theme), alternately forte and piano. The oboist plays a very simple descending figure built of two 16ths and a trill. This is followed by scale runs and syncopated arpeggios. The movement ends with the first half of the theme cadencing on the tonic.

The last movement, an Allegro, has a strident theme in the home key of A minor, built from a rolling figure, octave skips, punctuated swift descending figures, and a series of cadences separated by pauses. The oboist enters with an ascending figure varied by trills and scale runs. At the end of this passage, for a measure and a half, the music makes a brief allusion to the key of the relative minor (C minor). Still determined to keep this movement a lighthearted affair, this diversion seems intended as a musical joke, rather than a moment of somber reflection, because the orchestra returns immediately, in full force, with the major key theme interrupting the short detour; no more is heard of this sort of thing for the rest of the piece. There are further variations on previous material, several passages on continuous 16th-note figures, then the movement concludes with a strong recapitulation of the main theme.

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