In his early compositions, Bartók composed many piano pieces based on folk material, but he suspended his creative activities for three years starting from 1923. After this period of silence, in 1926, Bartók demonstrated his intention to enter a 'late period' with a style completely different from his early works.

In 1923, the orchestral work Dance Suite became his last major work to utilize peasant music as its material.

This piece was composed at the request of the government as music for the 50th anniversary celebration of the unification of the three districts of Budapest. Simultaneously with Bartók, Kodály and Dohnányi were also commissioned to compose, resulting in Psalmus Hungaricus and Festive Overture, respectively.

The premiere of this orchestral work Dance Suite was well-received, and in response to its popularity, a piano version was composed in 1925. However, this piano version was rarely performed, and its premiere was given in 1945 by the Hungarian pianist György Sándor.

The piece consists of six dance-like movements of differing character, between which a single recurring theme (ritornello theme = hereinafter R) appears, skillfully connecting each movement. The overall structure is I–R–II–R–III–IV–R–V–VI, and the material for the themes of each movement and the ritornello theme are imitations of ethnic melodies.

I. Moderato

Possesses an Arabic character, with rhythms derived from Eastern European folk music.

Play with a clear sense of meter. Clearly distinguish between sections where the tempo changes and those where it does not.

II. Allegro molto

Bears a Hungarian character.

It is important to understand how the rhythmic groupings are combined when performing.

III. Allegro vivace

Elements of Hungarian bagpipe-like music and Romanian peasant violin alternate. A light and vibrant piece. It requires independent touch technique in both hands and in each part.

IV. Molto tranquillo

A quiet piece, contrasting with the previous movement. Possesses an Arabic character. The contrast between sections dominated by harmony and those in unison is striking.

V. Comodo

In a letter, Bartók described it as 'something extremely primitive, which can only be defined as primitive peasant music.' A Romanian-style piece.

VI. Finale: Allegro

Material that has appeared previously (with the exception of the fourth dance) recurs and is interwoven with the ritornello, forming an overwhelming climax. A difficult piece with many sections that are impossible to play exactly as written. Rather than attempting to play every note indicated, it is necessary to carefully consider which notes are significant and perform effectively.