Like the first concerto in this Op. 4 set, the third is in G minor and cast in four movements. Both also have a somewhat unconventional succession of movements, this one alternating two Adagios with two Allegros. More unusual than that, however, is the Adagio first movement, wherein the organ remains idle while a solo violin is quite active as a sort of stand-in. The orchestra opens the Allegro second movement with a lively ritornello, after which the organ gives its colorful rendition of the thematic material. This second panel alternates brilliant and often virtuosic solo statements with orchestral ritornellos throughout, the whole yielding a sense of cheer and utter delight. The ensuing Adagio lasts less than a minute and again features the solo violin instead of the organ, this time leading a rather somber interlude. The finale is a two-minute Gavotte in which the organ dominates the orchestra, first mimicking its jaunty thematic material then brilliantly elaborating on it. The soloist plays mostly light, ethereal music in the upper ranges here, the keyboard writing dazzling in its fast-paced digital character.

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