Premiered in Berlin, but composed in Paris, Arthur Honegger’s Mouvement symphonique n° 3 was a commission for the Berlin Philharmonic, and Chapter 5 deals with its reception, bringing the book back to its two major European centres. For reviewers, Swiss-German Honegger’s work, the third in a trio of symphonic movements that began with Pacific 231 and Rugby, was unambiguously neither French nor German, and it reveals mechanisms by which commentators sought either to assimilate the work with, or expel it from, Germanic idealist aesthetic traditions. Despite the work’s ‘sober and unprepossessing’ title, this chapter suggests that Mouvement symphonique n° 3 had a critical political programme – even if programmatic aspects were barely acknowledged in the critical reception. Manipulating the symphonic form, and referencing Beethovenian subjective narratives in particular, the work considers the changing relationship between the individual and the collective within a tumultuous era of political and industrial/technological upheaval, ultimately lamenting over the ruins of both the symphony and the utopian political project it represented.