Liszt composed the first version of this work prior to 1852 and based it on waltz themes in Schubert's Valses nobles (D. 969) and Valses sentimentales (D. 779). Unlike his many Schubert song transcriptions, it divulges more of the style of Liszt than of Schubert. The same can be said of the succeeding versions. In 1869, Liszt fashioned a second rendition for his talented student Sophie Menter, who would develop a successful career as a touring virtuoso. Ten years later, Liszt made a third version of the piece, which is generally referred to as the "second edition," the Menter version not being taken into account. In each case, the succeeding version is a minute or more longer, the first of the Soirées de Vienne No. 6 having a duration of around seven or eight minutes and the final version lasting around ten. Listeners will easily notice differences in the three versions, especially between the first and last, and in the music following the opening sections. Liszt also made small, hardly noticeable changes: the first version begins with a marking of Allegro con strepito and the last with Allegro con spirito. In the end, however, most will find the three works share many more similarities than differences. Liszt captures the mixture of grace and quirkiness in the Schubert melodies. From the dramatic opening of the often graceful and witty interiors to the exciting closes, all three are compelling works in their own right.

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