Providing strong contrast with the previous movements, the finale initially seems tonally and formally unambiguous, starting out as a (sonata-) rondo structure. However, the new episode introduced in the development section threatens to take over the design, and the overemphatic use of C minor here points back to unresolved intermovement elements. Indeed, the movement is characterised by an increasing freedom from generic form, with the desynchronising of harmonic and thematic recapitulation points, the secondary material being not recapitulated, and the reprise effectively becoming a culminatory coda. This exhilarating movement reveals some precedent in the finale of Mendelssohn’s Octet (also in E flat, 1825) but takes its own direction.