These Op. 9 Waltzes are often referred to as the "Thirty-Six Original Dances." They come from much the same time as the Seventeen Ländler, for piano, D. 366 (1816 - 1824) and each set shares much in common in their lightness and colorful writing. Schubert loved to improvise dance music, and his improvisations were, in some cases at least, more masterful than the finished products of composers who labored long periods over their works.

It is well known by now that Schubert was a gifted pianist who cared little to give recitals or concerts as a soloist. His only regular appearances before the public came as accompanist to one of the leading singers of his time, Michael Vogl. He preferred playing as soloist for a small gathering of friends, for whom he would often improvise dance music. These waltzes, as well as the aforementioned Ländler, were by-products of these sessions.

When Schubert set most of these to paper he was usually very swift in the endeavor. It is known that eight of the these waltzes were written on a single day in November 1819. Some musicologists have asserted that the composer had such a natural ability in producing dance music of this type that he could almost write it in his sleep. However one views Schubert's facility in this genre, little of his music here sounds the product of a rushed effort or of a composer governed by formulas and rehash.

It is true that a few of the waltzes in this collection may be of inferior quality, but nearly all are quite excellent. The first two divulge much about the set: No. 1 is light and lively, featuring a colorful, cheerful tune, while No. 2, in contrast, is almost serene, offering a more relaxed and intimate mood. Some may find the form of these waltzes somewhat monotonous: most of them are comprised of two eight-bar phrases. Still, their brevity and thematic invention make them worthwhile pieces.

This set was first published in 1821.

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