in Schumann, in their correct order. Heinz Dill has mentioned Schumann's use of musical quotes and codes in this work. Eric Sams has discussed literary allusions in the work, such as to novels of Jean Paul. In Carnaval, Schumann goes further musically than in Papillons, Op. 2, for he himself conceives the story for which it serves as a musical illustration. Each piece has a title, and the work as a whole is a musical representation of an elaborate and imaginative masked ball during carnival season. Carnaval remains famous for its resplendent chordal passages and its use of rhythmic displacement and has long been a staple of the pianist's repertoire. Both Schumann and his wife Clara considered his solo piano works too difficult for the general public. (Frédéric Chopin is reported to have said that Carnaval was not music at all. Chopin did not warm to Schumann on the two occasions they met briefly and had a generally low opinion of his music.) Consequently, the works for solo piano were rarely performed in public during Schumann's lifetime, although Franz Liszt performed selections from Carnaval in Leipzig in March 1840, omitting certain movements with Schumann's consent. Six months after Schumann's death, Liszt would write to Wilhelm Joseph von Wasielewski, Schumann's future biographer, that Carnaval was a work "that will assume its natural place in the public eye alongside Beethoven's Diabelli Variations, which in my opinion it even surpasses in melodic invention and conciseness". Sections The work has 21 sections, plus a separate line in between the 8th and 9th sections, titled Sphinxes, that contains a description of the aforementioned musical codes. Sections 16 and 17 are actually a single piece with the middle section having its own title; they are commonly numbered separately. 1. Préambule (A major; Quasi maestoso) The Préambule is one of the few pieces in the set not explicitly organized around the A–S–C–H idea. It was taken from the incomplete Variations on a Theme of Schubert. The theme was Schubert's Sehnsuchtswalzer, Op. 9/2, D. 365. 2. Pierrot (E major; Moderato) This is a depiction of Pierrot, a character from the commedia dell'arte, commonly represented in costume at a ball. 3. Arlequin (B major; Vivo) This is a depiction of Harlequin, another character from the commedia dell'arte. 4. Valse noble (B major; Un poco maestoso) 5. Eusebius (E major; Adagio) Depicting the composer's calm, deliberate side. 6. Florestan (G