[0:00] I use a motive from Kreisleriana V. as transitional material into the Fantasy in the style of Kreisleriana VI.
[0:18]The bass begins to drop chromatically here, which will lead to a modulation to D.
[0:39] These two notes signify what should be the beginning of number VI.
[0:43] Now the theme from number IV emerges.
[0:50] The thematic material returns to that from number VI.
[0:54] And now the theme from number IV re-emerges (this thematic exchange was practiced in advance).
[1:03] Now I stick with the theme from number VI.
[1:20] Only now does the theme from number VI reach the low F found in the original.
[2:01] After relatively little harmonic experimentation, with some chromatic inner voice movement, the music is back to the same moment as at [1:21], this time with a low F.
[2:14] The melody turns to a surprising B natural, which then slowly leads to a cadence in D Major.
[2:33] The tombeau rhythm and drama of the original is channeled here, but the harmonic scheme remains basic and suspended between Bb Major and D Major for almost one minute.
[3:26] The F melody tone here signifies the ascending line from measure 19 of Schumann's original number VI with a pedal point F in the bass.
[3:40] The pedal point is broken with the same series of bass tones as in Schumann's original number VI except with the addition of a low C, and with some of the same as well as some different melodic accompanying pitches.
[3:48] The same pedal point with harmonic sequences begins to repeat but then changes.
[3:57] The build-up is interrupted by a restatement of the initial tones of the melody.
[4:38] The performance ends with a quotation of the last two bars from Schumann's VI.