This final chapter subdivides into three broad sections. The first makes the case for a nuanced applicability of Sonata Theory to romantic form, where deviations from the classical norms are frequent and often highly striking, sometimes to the point where the concept of “sonata” itself can seem strained. Even under these conditions, though, Sonata Theory’s analytical apparatus, forged in the centered norms of an earlier era, continues to serve heuristically productive ends: What is new, transgressive, or experimental in these later works has its impact maximized when read against the backdrop of the classical tradition deployed as a persistent, serviceable interpretive code, even though several of those once-vigorous norms, merely stale if perpetuated as reflex, academic conventions, were no longer binding in current practice. The second section provides an extended historical backdrop to the state of the Austro-Germanic symphony, c. 1840–75, and the importance of Brahms’s work in revitalizing that tradition. The third section is a close analysis of the finale of Brahms’s First Symphony that reads the movement, an expanded Type 1 sonata encased in a broad introduction and coda, as a commentary on the difficulties involved with its own coming-into-being. The work is thus self-reflective—or rather, its staged musical struggles and themes (filled with suggestive historical allusions and topical traditions) run parallel with Brahms’s own anxieties with regard to bringing this work into being, embedding within it, for instance, a “dedication emblem” to Clara Schumann: the famous alphorn theme of the introduction.