The concerto is in three movements:
I. Allegro con fuoco - The piano opens the first movement and is in the forefront until the second theme is announced by piano and orchestra. These two ideas are explored and expanded upon for the entire movement. The first theme builds to a climax in the coda, and the movement ends.
II. Andante religioso - Woodwinds make the first statement of a theme, the piano enters playing chords that will eventually evolve to another theme, but not before the first theme is restated by the strings. These two kernels are developed by piano and orchestra. There are beautiful passages for the piano playing arpeggios over a quiet accompaniment by the lower strings. Later in the movement the piano plays high in the treble with the strings, giving an impression of Widor's instruction of religioso. The movement ends with the piano playing chords over a gentle accompaniment.
III. Finale: Allegro - Widor begins the finale with loud C octaves in both hands and the music has the feel of a scherzo:
Widor was not only a master of organ compositions. He was also a first-rate orchestrator, so much so that he wrote a treatise on the subject. This concerto shows his mastery of the orchestra as well as the piano.