The first movement: Allegro, in the key of E major. At the beginning, the main horn plays the theme majestically. The first half of the jump rises and the second half of the triplet drop forms a clear contrast. The triplet theme appears 6 times in various variations. This movement also includes 8 themes, 4 of which are parentheses that appear once and then disappear. The French horn plays a slow melody after the theme. The string accompaniment of the slow melody produces the triplet motive in the second half of the theme, and then a new sub-theme appears. The orchestra plays together, the bass strings present a powerful theme, the violin plays the triplet motive in the second half of the theme, the treble strings and the bass strings play the canon theme, the flute and the single brass pipe play a flirtatious and beautiful sound pattern, the French horn and the single The pipes and strings are used as counterpoints. The theme reappears on the French horns, fast sound clusters appear on the wind and high-pitched strings, the sub-theme plays on the horns, and the strings continue to accelerate and become the reappearance of the theme. After the final horn play, the strings recall the theme and go directly to the next movement.

Second movement: Smooth Andante, in A flat major. The string accompaniment begins, and the oboe and bassoon play a Bruckner-flavored theme. The middle section is slightly faster and is in the key of D major. The third section consists of number 4 repeating the first section.

The third movement: fast Allegro, E flat major, rondo. The theme is in the style of hunting horns. After the entanglement of oboe chords, the initial interjection appears through the rapid dynamics of the strings, changing to the key of E major. The slogan plays the first interjection theme and its development leads to the recurrence of the convoluted theme. The horns then play the second interjection theme, and the band entangles the rondo theme with it, ending with a forte.

Richard Georg Strauss (Richard Georg Strauss, June 11, 1864 - September 8, 1949) was a German late Romantic composer and conductor. His father was Franz Strauss, a famous French horn player at the time. He received music instruction from his father since he was a child and started learning the violin when he was eight years old. His father's teachings focused very much on "romanticism," but Richard Strauss's own music eventually became an important part of modern music in the 20th century.

Strauss’s Concertos for Horn and Orchestra No. 1 and No. 2 were composed 60 years apart. The first one in 1882, the opening of the work "French Horn" is heroic, youthful and energetic, looking forward to the bright future. It has a flamboyant side, but the overall style is still quite classical, without the flamboyant and aloof feeling found in his symphonic poems.

The Horn Concerto No. 2 composed in 1942 and the Oboe Concerto composed in 1945 are similar in tune and color. Although it is more mature than the First Horn Concerto in terms of temperament and technique, it still has negative overtones such as a touch of sadness and unresolved worries about the difficulty of grasping it. The French horn in the hands of R. Struass has properties close to that of a woodwind instrument, more restrained than loud.