The Six Polonaises (D 824) were written down as a continuous score from No. 1 to No. 4 in April 1826, and three months later, an announcement of their publication by Cappi & Czerny was made.Similar to The Four Polonaises (D 599), friends left no testimony regarding their compositional background. However, given the short period between composition and publication, and the unusually messy handwriting in Schubert's autograph manuscript, it is presumed that they were written in haste due to a request for publication. Due to these circumstances, the state of the autograph materials is simple. That is, unlike D 599, there is no evidence of the collection being compiled by modifying previously written pieces; thus, the composer must have written the six pieces from the beginning with the overall structure in mind.

Each piece, consisting of a main section with repetitions and a trio, shares the same basic structure as the previous work, Four Polonaises (D 599). However, written eight years later and expanded from four to six pieces, this work shows clear signs of deepening in the following aspects.

First, tonally, the technique of shifting to remote keys early in the latter half of the main section is frequently employed (e.g., No. 3, No. 4). This technique not only broadens the range of colors within each piece but also seems related to the intention of structuring all six pieces as interconnected works. In other words, these remote keys serve to subtly recall a preceding piece or to foreshadow the key of a subsequent piece with a different character. By further refining this technique, which was glimpsed even in the previous collection D 599 (e.g., No. 2), this work dramatically expands the inter-piece network. The individual meanings often become clear only by playing through all six pieces, and in that sense, it strongly exhibits the character of what could be called a Romantic cycle. This also explains why Schumann expressed admiration for Schubert's polonaises.

Next, regarding thematic treatment, it is striking that themes clearly uncharacteristic of a polonaise frequently appear (e.g., No. 2, the trio of No. 4, the main section of No. 6). This diversity, hand in hand with the tonal organization, allows the whole to describe a deeper and grander arch.

Finally, concerning the balance of each formal section. In the previous work, the ratio of measures between the main section and the trio was relatively free, but the ratio between the first and second halves of the main section was unified. In this collection, this ratio also becomes more varied.

No. 1 (D minor / B-flat major)

Like the previous collection D 599, it opens in D minor, characterized by a weighty, bass-driven texture. The cycle still seems to be in a 'solemn, slumbering world' (Schumann). In the concluding part of the main section, a Neapolitan chord appears, which was not heard in the previous collection. It is unusual for intense passages, which Schumann would likely call 'thunderstorms,' to suddenly concentrate in the latter half of the trio.

No. 2 (F major / D-flat major)

In a sudden shift, the brilliant, high-pitched theme, though eight measures long, intentionally blurs the sense of meter. The unexpected deviation to B-flat major after a half cadence (m. 8) likely indicates that this key holds a special significance in this work (as discussed later). The trio adopts a Romantic key, which is rare for this period (cf. D 599/3). Although hand crossing is not seen in this work, the ascending figure in the Primo's left hand at measure 14 of the trio is written (in relation to the Secondo's right hand) to naturally release the hand quickly. This is a valuable passage where the two players thrillingly approach each other.

No. 3 (B-flat major / G minor)

It can be said to form the peak of the entire collection in terms of expressive range and sophistication. The opening theme is rather soft, as if taken from a trio (indeed, like the fourth piece of the previous collection, for example). The D-flat major sounding at measure 13 and the valiant D major chord heard at the end of the main section both cyclically allude to the preceding and succeeding pieces. The run at measure 13 of the trio harbors the collection's only passion. The characteristic bass voice appearing in the Secondo's right hand in the last eight measures of the trio was likely written with cello bowing and sound in mind.

No. 4 (D major / G major)

D [B] - G In a striking contrast to the Romanticism of the preceding pieces, the tonal organization reverts to a simpler one based on the circle of fifths, characterized by bright, sharp-key sonorities and swiftness. However, in the latter half of the main section, the B-flat major world of the previous pieces is brightly recalled. In Schubert's Lieder from around 1825 onwards, bright D major and hazy B-flat major are often contrasted with the meaning of 'reality and ideal.' There are not a few instances where this kind of expressive technique is utilized across genres in dance cycles as well. In the trio, which is consistently kept at a soft dynamic, the Primo showcases counterpoint.

No. 5 (A major / D major)

Similar to how the theme of the previous piece seemed to be taken from, so to speak, the climax of a variation, the theme of No. 5, which begins softly and casually, also has a nonchalant quality, as if starting from the middle of the piece. Both in terms of volume and thematically, it is generally flat and subdued among all six pieces.

No. 6 (E major / C major)

E [e] – C [G] This is the only piece in the collection that begins with a festive chord at the loudest dynamic. It is also the most technically demanding and loudest. The trio has a thin texture and is primarily high-pitched, but what is most striking is the fact that C major appears here for the first time in the collection. Furthermore, because it appears in a submediant relationship (a major third below) to the main key, it sounds extremely fresh. This final piece tells us that late Schubert placed considerable weight on this simple, primordial key.