The final chapter has two objectives. It first of all traces the performance history of Schumann’s Concerto in the decades after the composer’s death, focusing on London, Vienna, Leipzig, New York and Manchester, and the advocacy of particular pianists, primarily but not exclusively Clara Schumann. It examines critical responses to the work and the ways in which opinion changes over time, evolving from outright hostility and complaints about audacious modernity in the 1850s and 1860s to canonical acceptance and hagiography by the end of the nineteenth century. The chapter’s second objective is to evaluate the work’s compositional reception by exploring the uses of Schumann’s formal and expressive techniques in subsequent concerti, including both canonical music by Brahms, Grieg, Tchaikovsky and Rachmaninov and lesser-known examples by Scharwenka, Beach, Stanford and MacDowell.