This article addresses the network of forms and genres at play in Schoenberg’s First String Quartet, op. 7, proposing a conception of the work as a representation of urban life in fin-de-siècle Vienna. I offer a summary of the emotionally volatile program and prior analyses, highlighting the central points of contention between analysts. Most especially, these include the relationship between an overall sonata form and a set of intervening cyclic movements. I then problematize Steven Vande Moortele’s notion of “two-dimensional sonata form,” drawing from theoretical investigations into narrative levels and embedded forms in literary theory. The bulk of the article revolves around a thoroughgoing analysis of the large-scale form of the Quartet, presenting a novel reading that situates the work within a complex web of interacting forms and genres. The Quartet begins as a large-scale sonata form, which is interrupted by a juxtaposed cycle of interpolated movements. Upon the arrival of the rondo finale, the sonata is complete. I demonstrate that the rondo finale may be construed as a mirror to a large-scale overarching rondo that can explain the multiple dimensions of the entire work.