Like an earlier work by the same composer, this work's final section quotes the German tune Grossvater Tanz, which it refers to as a "theme from the 17th century." Its opening is reworked from the composer's nevercompleted set of variations on a theme of Schubert. This work includes an intermezzo honoring Niccolò Paganini. It includes a three-bar long section with no key signature or tempo marking, which was never meant to be played; that section is called (*) "Sphinxes." This work includes musical cryptograms using seq
Like an earlier work by the same composer, this work's final section quotes the German tune Grossvater Tanz, which it refers to as a "theme from the 17th century." Its opening is reworked from the composer's nevercompleted set of variations on a theme of Schubert. This work includes an intermezzo honoring Niccolò Paganini. It includes a three-bar long section with no key signature or tempo marking, which was never meant to be played; that section is called (*) "Sphinxes." This work includes musical cryptograms using sequences of notes representing the letters "A-S-C-H" in various combinations, and several of its sections are named after commedia dell'arte characters. For 10 points, name this set of solo piano pieces by Robert Schumann representing a pre-Lent celebration.
Like an earlier work by the same composer, this work's final section quotes the German tune Grossvater Tanz, which it refers to as a "theme from the 17th century.
Carnaval [or: Robert Schumann's Opus 9]