MENUETS: the special case of MOZART
- Jakob Viñas
- Feb 17
- 6 min read
Abstract
It is generally accepted that the tempo of minuets slowed down during the Classicism, compared to the tempo of minuets as they were supposed to be performed in the Baroque, but there are some musical and extra-musical considerations that allow us to doubt this. Rather, the opposite seems to be the case, since the French minuets of the Baroque were courtly and almost always to be danced, whereas during the Classicism they were incorporated into all kinds of musical works, without any need to be danced.
Firstly, it is certain that there was no standard tempo, so it must have been up to the musicians, dancers or others to decide on the tempo at the moment of performance. Secondly, each composer and even each work has its own specific ideal tempo according to its compositional characteristics. Finally, although we know that even in the Baroque they were not always compositions to be danced, as for example in the case of some minuets in Lully's operas, the tempo, in case they had to be danced, must allow the minuet steps to be performed comfortably and adequately.
For this discussion we will also take into account the views of Th.W. Adorno and Norbert Elias on the social meaning of the minuet, and we will not forget A. Schönberg's view that what is important in music is the ‘what’, that intangible which goes beyond mere musical forms and which is ultimately the product of a genius (Mozart) in his own time and society.
1 Mozart's Minuets
We can be sure that the Minuets were easy pieces for Mozart to compose. Nevertheless, due to the great popularity of the minuets at that time, Mozart composed a great number of them, incorporating them in almost all kinds of works: sonatas, symphonies, operas...
I would like to focus on two mature works: the KV 525 (1787) and the KV551 (1788). An important issue is the type of writing and figurations used by Mozart, in general only figures up to the quaver, that is, it is undoubtedly intended to be performed at a certain speed, otherwise the listening comprehension would be lost due to lack of association and it would also sound heavy. Another question to bear in mind is that while KV 525 could possibly have been danced due to the festive or celebratory character of a serenade, KV 551 is more doubtful, since it is a movement within a symphony, and we know that it was heard in concert, just as it is today.
Finally, the question of tempo must also undoubtedly be governed by musical and aesthetic sense, bearing in mind that Mozart is probably the composer who composed the most elegant music of all times. To understand this we must also take into account one of the first definitions of the classical minuet written by Johann Mattheson, in his ‘Perfect Chapel Master’ (1739), where he already gives the 3 options: a minuet (minuet) is to be played, sung or danced to. According to Mattheson it is enough to see the melody to know immediately whether it was for dancing, singing or playing.
With Mozart and his melodies, it seems that his minuets can be played, danced, sung or even whistled at the listener's choice...
2. Manuscript KV 525
KV 525, or the famous Eine kleine Nachtmusik, i.e. a commissioned work for a festive event or celebration, for which the Minuet was no doubt to be danced if necessary. Note that the figurations go only up to the eighth note, so the tempo must be fast enough to be intelligible but also slow enough to be danced if necessary.
All the writing and instrumentation are incredibly optimised for maximum musical performance with minimum technical effort on the part of the performers. Each part is also designed to ensure that no musician is bored, whether he or she is playing the melody or just the accompaniment. The minuet used to be repeated many times, especially if it was danced.
3. The manuscript: KV 551
KV 551, or Mozart's famous last symphony, no. 41. This symphony with its incredible counterpoint, its fugues and its virtuosity, constitutes a true ‘concerto for orchestra’. The minuet is one of the most complex in instrumentation composed by Mozart, although in comparison with the other movements it is relatively simple, with its chromatic progressions of great musical effect.
At first glance, the Menuetto follows the typical form of a stately dance, yet Mozart’s genius reveals itself in the interplay of independent melodic lines. The movement’s refined texture and rhythmic precision showcase his ability to maintain clarity even within a polyphonic structure. Unlike the lighter minuets of his earlier works, this one carries a regal character, heightened by dynamic contrasts and harmonic surprises.
The Trio section offers a striking contrast, introducing a lyrical theme that provides a moment of repose before the return of the Menuetto. Here, Mozart weaves contrapuntal lines with remarkable ease, demonstrating his skill in creating intricate yet effortlessly flowing melodies. Mozart’s counterpoint reaches its peak in the final movement, but the third movement foreshadows his command over this technique. The careful balance of melodic independence and harmonic richness in the Menuetto e Trio reflects the intellectual depth behind his compositions. The third movement, with its poised elegance and intricate counterpoint, serves as a testament to the composer's unparalleled craftsmanship.
Again, the figurations go only up to the eighth note, so the tempo here must be fast enough to be intelligible, and all parts sound musically intelligible and logical to the performer, something that is also only true of J. S. Bach.
4. The ideal tempo for dancing
The tempo of a French Baroque minuet must be at least 80 beats to the crotchet for it to be danceable. According to Pablo Minguet e Irol in his book published in Madrid in 1737: ‘Arte de danzar a la Francesa’, and also Raoul Auger Feuillet, in his book published in Paris in 1700: ‘Choreographie, ou l'art de decrire La Dance’, it is of special importance to the first beat of the bar to determine the right tempo. According to these authors this primary beat should be similar to the beat of a happy and joyful heart.
Since the minuet in its dance form and its basic steps did not change during the Baroque and Classical periods, we must accept that the tempo attached to the dance did not change either. As we have already observed, the figurations of the score usually novated beyond the corchera, which we stress once again means a faster tempo.
5. The ideal tempo for playability
Following our line of reasoning, it is not until Beethoven that we find Minuets with figurations faster than the quaver, which indicates that they should be played at a slower tempo. We also know that Beethoven composed many of his Minuets explicitly for playing. So, since the musical form still exists even in Beethoven's Minuets, the tempo cannot be very far from the French original, just a little slower: probably around 60 beats to the quarter note at the most, and of course every work has its own ideal tempo.
6. The ideal tempo to be sung, whistled... The special case of Mozart.
In a well-known letter W. A. Mozart writes to his father (1782): ‘When one only intends to win applause one should write something that is so futile that even a coachman could hum it, or so unintelligible that it is pleasant precisely because an insensitive man can understand it."
This point is especially important in the interpretation of Mozart's works, and especially his minuets, as pieces of a more popular character. Mozart's genius in his effort to please the public is unique in the world of music. That is why his music has so many nuances and at the same time so many possible readings. Moreover, the freshness and brilliance of his compositions always have a genial touch of ‘improvisation’.
My opinion is that the minuets and also the rest of Mozart's work should be sung with the ear of the mind in order to find the ideal tempo, so, according to the work, a tempo between 100 and 125 beats a quarter note should be the ideal tempo for Mozart's minuets, which gives us even at 125 an agogic from the first beat of the first bar to about 40.
Conclusion
The tempos of Mozart's minuets should be felt at ‘1’ but played at 3. Playing at ‘1’ represents the movement of the body when dancing, while at 3 represents the movement of the feet.
Mozart's minuets are the only ones that can be danced, played or sung at will. The elegant and refined sense of his music must never be lost sight of. It is the conductor's job to achieve this refined and elegant effect.
I invite you to listen to the two Minuets selected in this article:
Eine kleine Nachtmusik KV 525: Menuet
Live concert
Auditorio Nacoinal Madrid
Ensemble Musica Illustrata
Jakob Viñas, conductor
Symphony 41, KV 551: Menuet
Live concert
International Symphonic Orchestra LVIV (Ucrania)
Jakob Viñas, conductor
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