This "Opus 18" is Schubert's largest and most diverse collection of dances, comprising 36 pieces across three genres.36 Original Dances (D 365)Like the , it is an edited compilation of dances written at various times and places in later years. Although the composition periods of the individual pieces span a remarkable six years, the majority of the waltzes are concentrated in 1821, while the écossaises are somewhat earlier, mostly dating from 1815–20. The composition period for the Ländler is generally unknown. It was published by Cappi & Diabelli in February 1823. It is noteworthy that the composer immediately protested to the publisher (in a letter dated February 23, 1823) for dividing the work into two volumes at that time: Volume 1 (waltzes and écossaises up to No. 6) and Volume 2 (Ländler and écossaises from No. 7 onwards). While the gentle Schubert often did not hide his indignation at unfair treatment by publishers, and thus one should refrain from over-interpreting, this letter also suggests that the composer believed "Opus 18" was meant to be performed in its entirety to convey its full meaning. In that sense, this work can also be considered a "cycle" in a broad sense. Below, we will trace the flow by dividing the work into "Part 1" for the 12 waltzes, "Part 2" for the 17 Ländler, and "Part 3" for the 9 écossaises.

Part 1: Waltzes

The waltzes of Part 1 begin in E major, traverse its closely related keys (including enharmonic equivalents), and conclude in the same key, demonstrating clear completeness. The intended drama is also easily discernible in terms of musical character. Firstly, the opening four pieces are primarily composed of works bearing the designation “Atzenbrugg Deutsche” (German Dances written in Atzenbrugg, where he spent time with friends), and they exhibit a character of a valiant introduction through dominant fortissimo and unified rhythms. A more robust expression, akin to a German Dance rather than a typical “waltz,” would likely be required. From the subsequent No. 5, the musical character transitions to a Chopin-esque style with legato. The pinnacle of this elegant atmosphere is found in No. 8, which touches upon the rare key of E-flat minor (unlikely to exceed five examples in both lieder and piano pieces). The subsequent No. 9, having originally been the trio of another German Dance (D 135), can be interpreted as a trio section following the preceding piece, which ends in G-flat major, in its (enharmonically equivalent) parallel minor. In the final No. 12, a festive musical character returns, and Part 1 concludes vigorously.

Part 2: Ländler

The musical genre “Ländler,” which constitutes Part 2, is believed to originate from “Landvolk” (rural folk/peasants). Its history in Vienna is relatively recent. It is said to have been brought from Linz, a city approximately 150 kilometers to the west, in the early 19th century, and was performed in town eateries with violin and bass accompaniment. It is characterized by melodies that leap around a triad, and a more moderate tempo is adopted compared to German Dances. Therefore, Part 2 can be considered to form a slower section following Part 1. Now, Schubert’s Ländler are imbued with a pastoral atmosphere. In this work too, Part 2, primarily featuring high notes that seem to scatter sunlight, makes the performer/listener feel as if they are in a forest, through the lovely thematic treatment of “mi-sol-la” (No. 3) and yodel-like figures (Nos. 6, 7). This Ländler style often forms an impressive oasis in the third movements of piano sonatas (e.g., D 894). While it is primarily based on flat keys in contrast to Part 1, from around No. 13, it progresses through sharp keys as if returning to the real world. Brahms, who possessed many of the autographs for this Part 2, highly esteemed Schubert’s Ländler and German Dances.

Part 3: Écossaises

Part 3 is the lively world of the Écossaise. This dance, originating from Scotland, was originally in triple meter but settled into duple meter around 1700. In early 19th-century Vienna, it seems to have enjoyed popularity second only to German Dances, and a book from 1808 states that it “rightly stirs the blood, and is therefore highly praised.” Unlike the Ländler, no examples with orchestral accompaniment are found, so it seems certain that it was danced in the space of “private gatherings.” However, due to its vigorous movements, it is also written that “sufficient space and skilled dancers” were required for dancing. The Écossaises left by Schubert number approximately 60 and are characterized by their brevity, typically 16 (or 8) measures. In this Part 3, characterized by swift movements and complex, playful figures, sometimes eccentric temporary modulations are heard (No. 7). The highlight is likely No. 8. This piece, originally written in the difficult key of G-sharp minor, was dedicated in the autumn of 1822 to his acquaintance Miss Seraphine Schelmann with the following dedication: “In this Écossaise, you shall leap about / merrily, with every shriek / Franz Schubert.” This anecdote well illustrates the humor and performance technique the composer imbued in this genre.