[2] Hyperion Records called the oboe part in the section "aria-like", stating that it was typical of the bel canto style that was to influence Frédéric Chopin.

[2] The section shows a greater amount of interaction between the solo and orchestral parts, as there is frequent imitation and trading off of the main theme.

[2] One compiler and publisher of Bellini's music called the section a rondo in the structure "ABACABX"; he also wrote that "the orchestra connects the different episodes by short riffs […] and replies once the main theme.

"[10] Lehrer noted this third section as part of the common trend towards polonaises in rondo format as final movements of Romantic oboe concerti, listing it with works by Carl Maria von Weber, Stanislas Verroust, and Georges Guilhaud.

Valeria Lucentini, in an introduction to an edition of the piece, wrote, "Bellini devolves the lively and intense expressiveness of vocal music to the cantabile.

"[5] Hyperion Records opined that "Bellini's juxtaposition of lyrical and more rigorous passages gives the little work an expertly managed inner balance.