Franz Schubert's 12 Waltzes for piano, D. 969, or Valses nobles as they have been known since Tobias Haslinger published them as such in early 1827, were probably composed by during 1826. Haslinger's name for them is not inapt—there is a special rhythmic fiber throughout D. 969, and on several occasions (most notably the third dance of the group) Schubert bursts forth from the usual 16/24-bar stature and crafts something both of greater length and capable of greater internal drama. The Valses nobles are worthy of their status, shared perhaps with the Wiener-Damen Ländler, as Schubert's best-loved dances.

The fortissimo, forzando-inflected opening of the first dance makes plain to the dancers—and there would be dancers, as Schubert wrote, or sometimes improvised, his piano dances for the enjoyment of friends and guests—that they'll have to keep a lively step during this one. No. 3 is of exceptional scope and is yet based on just a single small rhythmic notion. No. 7 is rivaled in forceful drama only by No. 9, which sets forth on bare, almost menacing, octaves. From here on, the kinetic flow is relaxed just once—for the lovely and lyrical No. 10—before it climaxes in a bold fortissimo during the final dance.

Schubert allows for a more vibrant kind of harmonic contrast in the Valses nobles than usual in his sets of connected small dances. There is in fact an almost immediate tonal pungency, as the C major of No. 1 is frightened away by the rude, utterly surprising intrusion of A major in No. 2, but is then (Schubert's fine sense of humor served him well here) immediately re-established at the start of the lengthy No. 3! Schubert crafted even these tiny tidbits with care: note how the C major/A major shift is foretold during the second half of No. 1. Furthermore, the blasphemous dip from C to A major at that unlikely juncture is not the only joke in No. 2—the very rhythm of No. 1 is turned on its head. There is a similar tonal shock later one, as C major is broken down, and this time not immediately re-established, by E major (No. 6-No. 7), and again the move is brilliantly and subtly foretold by a fleeting impression of E major at the start of the C major No. 6.

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