In July 1818, during the summer of his 21st year, Schubert visited the Esterházy family's estate, located in present-day Hungary, and resided there for about four months, teaching music to the two young ladies, Marie and Caroline. It is highly probable that this work was written for their education and was intended for them to play as a piano duet. No other documents suggesting its compositional background have been found. Based on dances composed there (some of which had already been notated in June), the "Four Polonaises, Op. 75" were published by Diabelli in 1827. However, the composer himself made considerable revisions during publication, and in the course of this editing, the original arrangement of the dances was significantly altered. As was observed more than once when Schubert published dances, large-scale revisions were also made, such as moving sections that were originally trios to the main part. As will be discussed later, this treatment is believed to be related to the characterization of the collection.

All of Schubert's Polonaises are written in a three-part form: main section – trio – main section, with each section repeated. In this work, all four pieces have a main section consisting of a first half (4 measures) and a second half (16 measures) of the same length. The trios, on the other hand, are remarkably diverse in both length and expressive content, to the extent that Schumann's diary entry, quoted earlier, seems to perfectly capture the rich sonic world that the trios unfold. It is clear that the four pieces were conceived and arranged by the composer himself as a single 'cycle' that keeps both listener and performer engaged, in terms of both tonal drama and musical ideas.

No. 1 (D minor / A minor)

The collection opens with a weighty yet concise theme in D minor. The sound of B-flat major heard in the latter half of the main section (from measure 19) functions as a subdominant leaning towards the flat side relative to the tonic D minor, signaling that the end is near. In that sense, the 'p' marking at this passage is not to be overlooked. Furthermore, this key also holds significance as it foreshadows the subsequent No. 2, making it even more important.

No. 2 (B-flat major / D minor)

In the opening, which suddenly leaps around in the light upper register, it is important to ensure that the primo melody, carrying the polonaise rhythm, and the secondo's right hand are perfectly synchronized, while making the most of the characteristic dynamics. This piece, consisting of a main section that already presents the distant sound of D-flat major, and a trio that rather unfolds a waltz-like sentimentality, seems to build a 'romantic rainbow' over the 'solemnly slumbering' No. 1, as described by Schumann, announcing a new world.

No. 3 (E major / D-flat major)

The world of the 'rainbow,' residing high above, continues. The clear polonaise rhythm is charmingly intertwined with a melody in the high register, which features the most delicate ornamentation among the four pieces. The trio, longer than the main section, also forms the climax of the entire collection. The sweetness of D-flat major, foreshadowed in the previous piece, is fully developed here. It anticipates Chopin's waltzes, yet music theorists in the early 19th century still considered this key to express very delicate emotions and deemed it 'unsuitable for a tonic key.' Such is the delicacy of this trio.

No. 4 (C major / F major)

Both the key and the theme return to a bright and simple character, befitting a finale. The rhythm is also simplified. In fact, this theme was originally from the 'trio' of another polonaise (D 618A). For publication, Schubert brought this lighthearted trio into the main section.