It bears some resemblance to Caprices en forme de Valse, Op. 2. However, in terms of form, specifically in unifying the whole, it seems to have achieved greater stability. It is divided into several sections by key and musical idea, but these are not independent; they follow attacca, and the opening theme also recurs. Furthermore, the function of the long and brilliant coda as a finale is also effective.

This work also contains a musical idea shared by Clara and Robert. This is the brilliant descending octave figure in Allegro, which begins after the Andante prelude. Almost the same figure is quoted in Robert's Carnaval, Op. 9 from 'Valse Allemande' middle section.

Clara herself orchestrated and published this work in 1838, but unfortunately, it is no longer extant.