The emergence of this violin concerto was a major event in instrumental composition after Beethoven, and it played a significant role in enriching the brilliant techniques of modern violin performance.

The first movement is passionate and fast-paced, with its fundamental theme full of power, and its high and passionate emotions playing a dominant role in the movement:

The presentation of this theme has its complex changes and developments, and its melody is occasionally enriched by various exquisite and elegant passage patterns. Sometimes the band plays this theme, while the solo violin gallops within its range to decorate it; Sometimes complete melodic phrases appear; Sometimes I only hear its magnificent fragments; Sometimes only the highest silver and clear notes of the solo violin are used to express nostalgia for this theme. In the connecting paragraph before entering the second theme, there is a new theme material, but it has similar characteristics to the first theme, is also a manifestation of abundant energy, and is carried out more rapidly:

The second theme of the chapter seems a bit sentimental, which is a quiet lyrical poem. It is first introduced by flute and clarinet, and then sung by solo violin in a warmer and more beautiful voice:

Although the two themes of the movement are different, overall they are lyrical and do not form a contradiction or conflict. The themes have already developed when presented, so the scale of the development section in the sonata form here appears relatively small, but a series of modulations still give the music a fresh look. At that time, it was customary for performers to improvise or choose templates for other performers to use regarding the colorful sections of a movement. However, Mendelssohn went against the norm and personally wrote the music for the colorful sections as part of his work. Due to his detailed discussions with the violinist Ferdinand David, who performed this concerto for the first time, on a series of issues related to violin playing techniques, the brilliant passages he wrote not only have brilliant skills, but also maintain an organic connection with the style and form of the work.

The second movement seamlessly transitions from the previous movement, resembling a lyrical interlude with the charm of a lullaby. The movement adopts a three part form, and its basic theme is played by a solo violin. Its broad chant is similar to the lyrical theme of the previous movement, sweet yet poignant:

This theme is quite similar to the theme of the second movement of the Scottish Symphony, and its presentation style has the characteristics of the wordless song. Here, Mendelssohn fully demonstrates how skilled he is at creating melodies that are as elegant and gentle as this. The middle section of the movement is a solemn new theme, with the solo violin always in a dominant position. Its extensive use of diphthongs and octaves is also noteworthy, and at the same time, the role of the orchestra is more prominent than ever before:

The third movement forms a sharp contrast with the previous movement, with poetic imagery and expressed emotions that are very similar to the music the author wrote for Shakespeare's comedy 'A Midsummer Night's Dream'. This movement is also written in the form of a sonata, with a short introduction at the beginning, and the theme's form is very similar to the theme in the middle of the second movement. It serves as a buffer between the two contrasting movements: