minor; Passionato) Depicting the composer's fiery, impetuous side. Schumann quotes the main waltz theme from his earlier work Papillons, Op. 2, in this movement. 7. Coquette (B major; Vivo) Depicting a flirtatious girl. 8. Replique (B major – G minor; L'istesso tempo) A 'reply' to the coquette. —. Sphinxs This consists of three sections, each consisting of one bar on a single staff in bass (F) clef, with no key, tempo, or dynamic indications. The notes are written as breves or double whole notes. The pitches given are the notes EC B A (SCHA) and AC B (AsCH) and A EC B (ASCH). Many pianists and editors, including Clara Schumann, advocate for omitting the Sphinxs in performance. 9. Papillons (B major; Prestissimo) This piece is unrelated to his earlier work of the same name. 10. A.S.C.H. S.C.H.A. (Lettres Dansantes) (E major; Presto) Despite the title, the pattern used is As–C–H. 11. Chiarina (C minor; Passionato) A depiction of Clara Schumann. 12. Chopin (A major; Agitato) An evocation of his colleague Frédéric Chopin. 13. Estrella (F minor; Con affetto) Depicting Ernestine von Fricken. 14. Reconnaissance (A major; Animato) Likely depicting Schumann and Ernestine recognizing each other at the ball. 15. Pantalon et Colombine (F minor (ends in F major); Presto) The characters Pantalone and Columbina from the commedia dell'arte. 16–17. Valse allemande – Paganini (A major – F minor – A major; Molto vivace – Intermezzo: Presto) A German waltz, with an evocation of Niccolò Paganini in the middle. 16 and 17 are actually a single piece in ABA form: #16 consisting of the initial A-part (Molto vivace) entitled "Valse Allemande", followed by #17 the B-part (Intermezzo: Presto) entitled "Paganini" and a reprise of the entire Valse A-part again (Tempo I: ma più vivo). 18. Aveu (F minor – A major; Passionato) Depicting a confession of love. 19. Promenade (D major; Con moto) 20. Pause (A major; Vivo) A short introduction and a quote of the first section Préambule, leads into the final section. 21. Marche des “Davidsbündler” contre les Philistins' (A major; Non allegro) Quotations from a number of the previous sections fleetingly reappear; the Großvatertanz, identified by Schumann in the score as a "Theme from the 17th century" and intended to represent those holding to old-fashioned, outdated and inartistic ideals (i.e., Philistines) is quoted from his earlier work Papillons, Op. 2. Orchestrations In 1910, Michel Fokine choreographed Carnaval for