This beautiful menuet, Menuet in G minor BWV Anh. 115 by Petzold from the Anna Magdalena book was an exam piece in the ABRSM Grade 2 piano syllabus in 2011 and 2012. It is not as well-known as its partner, Minuet in G BWV Anh. 114 however it really should be.
BACH Johann Sebastian With his family in 1870 painting by Toby Rosenthal, from Alamy.com
Character/story of the piece – a minuet, sometimes spelled menuet, is a social dance for two people, usually in a time signature of three crotchets in each bar. The word minuet means small, pretty and delicate. The word minuet is most probably used because the steps in the dance are quite small and short. At the time when this dance was the most fashionable, it was slow, ceremonious and graceful. The minuet became a stately court dance in the 17th and 18th Centuries. The name is also given to a musical composition written in the same time and rhythm, but when not accompanying a dance the tempo was quicker. It was be advisable to suggest to the player that they could watch videos of this dance so they can understand the character it. As the ABRSM notes suggest, this minuet has a ‘dignified and somewhat plaintive character and this lends itself to a stately and unhurried tempo’.
Form – binary, although each section here is of the same length. By the end of the first section the music has modulated to BB major, G minor’s related major. At the end of the fifth phrase the music has modulated to F major, by the end of the sixth phrase the music has modulated to BB major and from there, the music moves back to G minor.
Main part of the music – the loudest part of the music should occur in the penultimate bar at a forte level, although at a level that is appropriate for the period of the music. In the final two bars the player should use a small ritardando to highlight the ending.
Phrasing – there are eight phrases in this piece and all of the phrases should be considered in sets of two, for instance the first phrase is ‘answered’ by the second phrase and so on. As with any piece, the player must give thought to the dynamic level each phrase should commence at and how the LH patterns at the ends of many of the phrases flow into the following phrase.
Tempo, time signature and rhythmic patterns – a tempo of q = 120 is suggested in the ABRSM Anna Magdalena Bach book. A set of notes I have recommends q = 126, however as suggests before, too fast a tempo will affect the slightly wistful character of the music. In this piece, a pattern of four quavers is often found at the end of a bar. The second section of this piece has a feeling of development, so here the patterns become a little more varied however there is only one instance of the use of semiquavers and this is in the penultimate bar. There could be a danger that the quaver patterns could be played unevenly.
Touch/Articulation – this piece demands an intense and bright touch using well curved fingers and a small amount of energy into the keys in the RH. There are instances however where the LH takes on a melodic role such as at the ends of some phrases and bars 7, 18, 19, 22, 23, 27, 30 and 31. All octave leaps should be detached, the second and third beats in bars 2 and 10 could be lightly detached and both hands could do the same in bars 15, 18, 23 and 31. If desired, the player could also detach at the crotchet in bars 5 and 6. As is always the case, whatever articulation is decided on it is advisable to keep it simple and to be consistent in its application.
Balance between the hands – generally the balance in this piece should be to the RH however the LH has an important role to play by providing resonance and foundation for the RH. The LH should have more prominence in the areas as described above. In the bars such as bars 22 and 22, the balance may be reduced a little because of the LH’s role.
JOHANN SEBASTIAN BACH (1685-1750) German Baroque composer with his sons painted by Balthasar Denner in 1730, from Alamy.com
Dynamics – the player must remember that whatever dynamic level they use must be appropriate for the Baroque Period. The player must ensure that whenever the LH has a melodic role such as at the end of the first phrase, the first note of these patterns is matched tonally to the remaining sound from the previous note.
Ornaments – as is always the case, the ornaments would be better omitted from this piece if they were disturbing the rhythmic flow. Often a player will pace too much emphasis on an ornament resulting in them sounding too loud in comparison with the rest of the music. Nevertheless, the addition of some ornaments provides this music with additional flair and style. If a pupil is playing this piece for an exam, this may help them obtain a distinction. Some editions vary as to the execution of the ornaments. The ABRSM notes suggest using a trill beginning on the upper note in bars 8 and 15 and the mordent in bars 9 and 22. There are additional ornaments however in bars 13 and the penultimate bar. I feel that the ornament in bar 13 helps to highlight the harmony at that point. However, the ornament in the penultimate bar could be omitted considering the interest provided by the change in the rhythmic pattern in this bar.
DANCE: MINUET, 1735. Line engraving from Kellom Tomlinson's 'Art of Dancing,' 1735, from Alamy.com
Additional considerations
· There is a melodic line in the RH in bar 27.
· Bringing out the top notes of the final RH chords could enhance the melodic movement at the end of each section.
· The player should always consider what the purpose is of an ornament – will it help to sustain the melody at that point? Does it help to highlight a cadence? Does it provide a transition between one phrase and another? Does it outline a particular harmony? Does the ornament provide colour and interest? All ornaments should be played with shape and purpose.
· The dynamic level at the end of the first section should be at mf level.
· Overall, the music should convey the feeling of restraint and poise.
· All detached notes should be gently detached; only lifted in time to play the following note.
· There could be a danger that the player ‘pushes’ off from any of the low notes in the LH. Here the player should use a small amount of arm weight when playing these notes and also to stay in contact with the key as it is being lifted.
· A greater range in the dynamics in the second section can provide more drama to the music.
· When making changes in the dynamics, a change in the LH’s dynamics can make a considerable difference to the overall dynamics.
· As with the ornaments, the player needs to consider what the purpose is of each phrase – for example, the fifth phrase outlines the key of BB major, however in the following phrase is starting to take the music back to G minor. The fifth phrase could have more drive and momentum in comparison with the sixth phrase, which should sound a little resigned at the end. Blending the hands together in bar 23 will contribute to this feeling.