Minuet in G, Biamonti 290 Nr. 1 (Completion)(mp3)
These nine orchestral dances are sketched in the first five pages of the Kessler sketchbook used by Beethoven from December 1801 until about autumn of 1802. Since these groups of dances had usually been used for the New Year's dances at the Redoutensaal, these sketches almost certainly date from December 1801.
Whether they are really meant to be a single set is open to question; five of them are expressly marked as Minuets by Beethoven, while two are labeled as "Tedesca" or German Dances. The other two are probably minuets. Beethoven didn't mix the two types of dances in his sets, but it's possible that he considered it here. The dances follow one another in fifths, as was very common for Beethoven to use in his sets. They are clearly intended for orchestra, since at one point "Bassi soli" is noted in Minuet nr. 3, and a horn solo in the 7th and 8th dances.
Minuet nr. 1 in G is fairly complete, but is missing its trio. Since the B section has a very different character, it's possible that this might be an embryo of what would eventually become the Trio. Minuet Nr. 2 in E-flat is only the melody line for the first section, but the trio is more or less complete. The third minuet, in C, is more or less complete and features the bassi prominently. The fourth dance is the first of the two tedescas, this one in E-flat. The second, in C, is denoted 'sempre ottava.' This second tedesca, unlike the first, contains a trio that is more complete than the main section of the dance itself.
Dance nr. 6 is probably a minuet in G, but lacking a trio. On closer examination, the small but beautiful tune allows for a smart canon: the 2nd voice answers after one bar, a fifth lower. A somewhat unusual rest in the notation of the tune suggests that Beethoven actually did have this canon in mind. The 7th dance is presumably also a minuet, and features a slightly odd structure. The A section is the usual 8 bars, repeated, but the B section has a 2 measure fanfare that is repeated, followed by six bars. Then a four-bar segment is repeated and another four bars takes us to a da capo. Minuet nr. 8 in A indicates an unusual sketching procedure; the Trio was clearly written before the minuet proper. Concluding the work is a minuet in C that features an extended codalike structure in place of the more conventional coda.
Both the original sketch in piano score (plus the noted instrumental soli) and Willem's completion and orchestration are provided here. World premieres for The Unheard Beethoven.
Biamonti: 290