The overall structure of the "Allegro moderato" recalls the baroque concerto in its alternating contrastive statements by orchestral ritornello and soloist. The ritornello, heard complete in the first twenty-five measures, recurs thereafter in differentiated, mostly fragmentary forms of varying length. Although the soloist initially introduces new material between occurrences of the ritornello, after a brief transition to E-flat major (mm. 65–78), it is closely integrated with the latter in a lengthy "development" section (mm. 78–143) wherein it actually quotes or otherwise enlarges upon the ideas of the ritornello. The ritornello in G minor beginning with the anacrusis in m. 142 thus serves as a kind of "recapitulation," inviting further comparison with eighteenth-century sonata and sonata-rondo forms more closely identified with composers who lived and worked after Bach.