Schumann, utilizing his innate literary talent, founded the Neue Zeitschrift für Musik (New Journal for Music) on April 3, 1834, subsequently making significant contributions to the development and dissemination of 19th-century music journalism. (As of July 1837, the Neue Zeitschrift für Musik had a circulation of approximately 450-500 copies, growing into one of the leading journals in the German-speaking world.) Within the journal, Schumann often wrote critical essays in the form of symposia by members of the fictional society he created, the "Davidsbündler." The main members of this league were the energetic and passionate Florestan and the contemplative and introverted Eusebius, who symbolized two contrasting aspects inherent in Schumann himself.

The significant role played by these two figures was evident not only in music criticism but also in the Davidsbündlertänze (Dances of the League of David), composed in late summer 1837, as indicated by the inscription "Florestan and Eusebius" instead of the composer's real name on the cover of the first edition. This piano cycle, self-published by F. Kistner in Leipzig in January 1838, is considered one of Schumann's greatest masterpieces among his piano works. Kistner was also the publisher of Schumann's music journal, the Neue Zeitschrift für Musik, which he had started in 1833.

Just as the first edition score was published in two parts, the Davidsbündlertänze consists of 18 character pieces, with nine pieces in each of its two parts. Each piece embodies the character of either Florestan or Eusebius, or both, unfolding a musical contrast and dialogue between the two. (At the end of each piece, the initial "F." for Florestan or "E." for Eusebius is indicated. The final piece of each part, in C major, does not belong to either character.)

Approximately 13 years after the first edition, in 1850 or 1851, a second edition with numerous revisions, not limited to musical content, was published by Schuberth & Co. in Hamburg. In this edition, the composer's name was given as "Robert Schumann," and the title was also changed. While the first edition was the Davidsbündlertänze as it is known today, the second edition omitted "Dances," becoming simply Davidsbündler. This was because, although pieces in the style of mazurkas, waltzes, polkas, and tarantellas are included, not all of them are strictly dances in the precise sense. Furthermore, the "F." or "E." markings at the end of each piece were removed, re-presenting the work as Schumann's own creation. However, today, performances based on the 1838 first edition are overwhelmingly more common.

Part 1

• 1. G major: The opening motif, consisting of active leaps and a descending chromatic line, is taken from Clara Wieck's (1819-1896) Op. 6 No. 5, "Mazurka" (1836), Clara Wieck who would become his wife a few years later. (F. and E.)
• 2. B minor: A contemplative character, featuring Schumann's characteristic technique of weaving the main melody into multiple voices. In the style of a Ländler, a 3/4 folk dance. (E.)
• 3. G major: Florestan's energy returns, symbolized by the opening staccato ascending scale. (F.)
• 4. B minor: The pervasive syncopated rhythm throughout the piece urges on Florestan's passion. (F.)
• 5. D major: The dreamy Eusebius plays a melody of celestial beauty. The intervals of the leaps within this four-bar melodic phrase gradually expand, finally ascending an octave on the third repetition. (E.)
• 6. D minor: In the style of a tarantella, a dance originating from Naples in Southern Italy. The relentlessly repeated rhythmic motion and primitive-sounding melody seem to symbolize Florestan's aggressive side, as well as a deeply hidden anxiety. (F.)
• 7. G minor: The recitative-like opening, marked ritardando four times within eight bars, has an indeterminate tempo. The lyrical middle section is in the remote key of A-flat major, featuring striking harmonies. (E.)
• 8. C minor: Florestan returns with a sixteenth-note accompaniment and a vigorous melody. (F.)
• 9. C major: The concluding piece of the first part is in C major, said to be Clara's key. A rhythmic piece with a continuous succession of melodies sharing the same rhythmic pattern. (No "F." or "E." indicated.)

Part 2

• 10. D minor: A powerful piece marked with sforzando (sf) signs throughout. It features polyrhythm, where the right hand (6/8 time) and left hand (3/4 time) create different metric feels. (F.)
• 11. B minor: Plays a dreamy and quiet, yet somewhat restrained, melody. (E.)
• 12. B minor: A duple-meter dance demonstrating Florestan's brilliance. (F.)
• 13. B minor: Florestan's energetic movements and Eusebius's static, restrained melody in B major appear alternately. (F. and E.)
• 14. E-flat major: A piece that could be called a Song Without Words, where not only the main melody but also the chromatically ornamented inner voices are delicate and beautiful. (E.)
• 15. B-flat major: The resolute Florestan at the beginning is followed by the graceful Eusebius. (F. and E.)
• 16. G major: An expressive piece by the seemingly restless Florestan. (F.)
• 17. B major: Two voices engage in a dialogue, accompanied by the bass line that appeared at the end of the previous piece. (F. and E.)
• 18. C major: For the conclusion of the cycle, the same key as the final piece of Part 1 was chosen. Now that everything has passed, a sense of spiritual peace and fulfilled happiness can be felt.