The first major criticism, by Robert Schumann, appeared in 1841. Schumann was critical of the work. He described the sonata as "four of maddest children under the same roof" and found the title "Sonata" capricious and slightly presumptuous. He also remarked that the "Marche funèbre" "has something repulsive" about it, and that "an adagio in its place, perhaps in D-flat, would have had a far more beautiful effect". In addition, the finale caused a stir among Schumann and other musicians. Schumann said that the movement "seems more like a mockery than any [sort of music", and when Felix Mendelssohn was asked for an opinion of it, he commented, "Oh, I abhor it". James Huneker remarked that the four movements of the sonata "have no common life", and that the sonata "is not more a sonata than it is a sequence of ballades and scherzi." Despite these remarks, he called the last two movements "masterpieces" and wrote that the finale has "no parallel in piano music". Similarly, James Cuthbert Hadden wrote that "the four movements, regarded separately, are admirable, but taken together they have little thematic or other affinity," and also concurred with Schumann's description of the sonata as "four of his maddest children" bound together. Henry Bidou considered the work "not very coherent", and remarked that "Schumann has pointed out the defect in its composition".