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
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]