Movement 1: Allegro
Movement 2: Andante
Movement 3: Finale: Allegro assai
Although there is no scherzo, the usual characteristics are all present. The opening Allegro is virtually monothematic and based on short motifs often in three- or five-bar phrase lengths. Further use of syncopations and hemiolas, chromaticism and unexpected harmonic progressions help to sustain the momentum. There is an eloquent slow movement with a developed contrasting middle section followed directly by a lengthy tarantella-like Finale. The latter movement is in grave danger of outstaying its welcome, but somehow it keeps afloat, thanks to Berwald’s freshness and spontaneity.
from notes by Roy Goodman © 1995