"36 Original Dances (First Collection of Waltzes)" was published by Cappi & Diabelli in November 1821 as "Opus 9." This marked Schubert's first published collection of dances. Incidentally, this year was also significant as his Lied "Erlkönig" was released as "Opus 1" by the same publisher in April. However, songs by the young, new composer Schubert were actually published at the composer's own expense (i.e., "at his own cost"). In contrast, "Opus 9" was the first collection of works printed entirely at the publisher's expense. Thereafter, publishers became less reluctant to take financial risks when publishing his Lieder. Initially, Schubert's waltzes "sold" better than his Lieder.

Many of the 36 pieces included in this work were composed between 1818 and 1821. They were composed in various locations; notably, the autograph manuscripts for Nos. 29-31 bear the title "Atzenbrugg Deutsche [=German Dance]," named after a place where he enjoyed time with a dozen or so friends. In other words, "Opus 9" is a re-edited collection of waltzes that were originally written down separately over more than three years. No documents exist to indicate who arranged them or how. It is generally accepted that in Schubert's case, the publisher's intentions were quite dominant, and it has been thought that the composer had less specific insistence in "light" genres like dance collections. Furthermore, since this work is considered one of the broadest and loosest among the eight dance collections published during Schubert's lifetime, some researchers argue that it is nonsensical to interpret a consistent compositional intention for the arrangement (cyclicality). However, it is also a well-established fact that Schubert once resolutely objected when a publisher arbitrarily divided and released a dance collection (D 145). As long as it is a work that the composer himself released as an "Opus," performers can actively interpret some kind of unity or narrative within it, approaching the work with a mindset similar to playing a sonata.

As will be discussed in detail in the musical analysis, the second piece, "Trauerwalzer" (Waltz of Sorrow), may serve as one such clue. This piece, the most famous of all Schubert's waltzes, was titled "German Dance" in the 1818 autograph manuscript, and reportedly "Ländler" in the lost 1816 autograph manuscript. As mentioned in the general overview (Schubert's Piano Dances), this is a clear example demonstrating that the boundaries between dance genres were fluid for Schubert. Although the title "Trauerwalzer" was not given by the composer, its melancholic melody first captivated his friends. Its popularity spread further, and two composers, including Czerny, released variations based on it prior to the publication of this work. Furthermore, in 1826, it was published in Mainz under the title "Sehnsuchtswalzer" (Waltz of Longing), attributed to Beethoven. This background likely contributed to the reason why Opus 9 was titled Schubert's "Original Dances."

Let us attempt to divide the whole into three parts and provide a general interpretation for each.  

• Part 1: Nos. 1-15 Legato (Sleep)
• Part 2: Nos. 16-31 Leggiero (Exaltation)
• Part 3: Nos. 32-36 Legato (Sleep once more)

The Valse Sentimentale can serve as a clue for considering the unity of the entire collection because this piece connects to three perspectives, which are deeply intertwined with the overall interpretation.

First Perspective: From the Viewpoint of Key

A-flat major is the fundamental key dominating the first half (Part 1), and it was also a key favored by Schubert in his "Lullabies" (D 498, D 867), or a key that conveyed trust in God. Thereafter, the sharp keys are suddenly explored (Part 2), and finally, the collection gently settles into F major (Part 3).

Second Perspective: From the Viewpoint of Musical Character and Touch

Part 1, dominated by legato as if in a dreamy slumber, abruptly shifts to sharp keys at No. 16, where rapid movements, marcato, and staccato become prominent, escalating into yodel-like octave leaps heard from No. 25 onwards. This dream-like excitement gradually subsides after reaching its peak at No. 31, slowly returning to its original state. The opening four notes of No. 35 recall the beginning of the Valse Sentimentale, and the sustained F major pedal point dominating No. 35 guides the collection back to its ultimate tranquility. If interpreted in this manner, for instance, the entire collection can be played/listened to as a cycle with a narrative, even akin to Schumann's Kinderszenen.

Third Perspective: The Issue of Finer Sonic Nuances

It is certainly true that the primary reason for the immense popularity of No. 2, the Valse Sentimentale, lay in its shadow cast towards the parallel minor and the melancholic emotion that permeates it. The technique of creating this emotion by presenting disparate sounds through enharmonic equivalents (measures 11-12) permeates all genres of Schubert's works. Many researchers and performers interpret this technique as often expressing a longing for another world in lieder, and in piano works, as connecting to delicate states such as a sudden pang of a heart's wound. Considering that this kind of shadow is heard throughout the entire collection (e.g., Nos. 14, 34, 36), it could be utilized in performance as a leitmotif touching upon the fluctuations of the spirit.