This was also the year of the premiere of the Rhenish symphony, and among compositions the substantial revision of the Fourth Symphony, the Third Piano Trio, the oratorio Der Rose Pilgerfahrt, a number of piano works and two of his concert overtures, Julius Caesar (after Shakespeare) and Hermann und Dorothea after Goethe.

The coda is in two parts — quiet sustained over an F-E pedal with several recurrences of the main theme, gaining intensity and leading to a section — most of a page — in which the violin has running sixteenth notes, the piano mostly chords, until the final harmonies A major - A minor - B diminished - E major - A minor.

An intermezzo at a brisk pace somewhere between a slow movement and a scherzo, in the form of a rondo with two episodes (in F Major and D minor, the latter Bewegter).

A group of themes in F major enters about halfway through the fifty-eight bar exposition, but is quickly diverted back to the main flow of A minor.

The major-mode themes are accorded slightly less space this time around before A minor returns in the form of a quiet pair of octaves, F in tremolo in the left hand and A held in the right, occasionally alternating with the scurrying sixteenths; over which the violin plays the longer version of its main theme from the first movement, twice, then, crescendo, joins in the piano's perpetual motion frenzy until a recall of the canonic theme that had opened the development is reached - now played sforzando (mit Violoncell, Schumann also writes), opening the last stage of the coda punctuating the rush to the final chords sixteen bars later.