The recapitulation ends with a coda that is relatively brief but intense, concluding with an ascending passage built through imitation of the opening cell, whose buildup comes suddenly crashing down in a descending 'fortissimo' phrase.

The consistently repeated eighth notes creates an effect of perpetual motion, even agitation, although the melodic themes are quite lyrical.

A second idea, which brings back the repeated eighth notes from the intermezzo, begins the transition to the second main section.

It is initially stated by the piano and accompanied by light sixteenth note gestures by the strings, although this is later reversed.

This movement is notable for its difficulty, rhythmic and metrical complexity, and harmonic exploration (for instance, after the final D section, the piano plays a cadenza based on the B section that modulates from G minor to F♯ minor), and has remained one of the most difficult movements to perform in all of Brahms's chamber music.

The quartet was orchestrated by Arnold Schoenberg in 1937, at the instigation of conductor Otto Klemperer and premiered by the Los Angeles Philharmonic Orchestra conducted by Klemperer; this orchestrated version was made into the ballet Brahms–Schoenberg Quartet by George Balanchine.

The Hungarian-born composer Ernst von Dohnányi transcribed the fourth movement as a bravura showpiece for solo piano.

This recording was released on a Newport Classic CD called "The Performing Piano II" (NC 60030), but the piece is incorrectly attributed as being one of the Hungarian Dances.