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Updated: May 23, 2025
The menuetto is excellent, its trio being a faint approach to Beethoven in color. The unaccustomed rhythm of the slow movement is irritating. Our young Chopin does not move about as freely as Benjamin Godard in the scherzo of his violin and piano sonata in the same bizarre rhythm. Niecks sees naught but barren waste in the finale. I disagree with him.
This novel and unconventional characterization of the two middle movements of a symphony was almost entirely overlooked: the Allegretto scherzando was taken to represent the usual Andante, the Tempo di Menuetto, the familiar "Scherzo" and, as the two movements thus interpreted seemed rather paltry, and none of the usual effects could be got with them, our musicians came to regard the entire symphony as a sort of accidental hors d'oeuvre of Beethoven's muse who, after the exertions with the A major symphony had chosen "to take things rather easily."
The Menuetto is, musically, the least strong of any of the numbers, but it has a certain elegance, and is the most popular of them all. The Romanza is a great favorite of mine, it is very graceful, flowing and melodious. The concluding Fugue is a fine number; you see how the theme is carried from one hand to the other, all twisted about, in a way old Bach and Handel never thought of doing.
In the distance rushes the wind and the rain, while the shepherd gently plays a melody on his flute." This is quoted by Kleczynski. There are word-whisperings in the next study in F minor, whilst the symbolism of the dance the Valse, Mazurka, Polonaise, Menuetto, Bolero, Schottische, Krakowiak and Tarantella is admirably indicated in all of them.
He is said to have a glorious LEGATO just the very thing for the VARIATIONS." "Indeed?" said Maurice with a well-emphasised dryness. His tone nudged Dove's memory. "By the way, all congratulations, of course," he hastened to add. "Never heard you play better. Especially the MENUETTO. Some people sitting behind me were reminded of Rubinstein."
Nevertheless, I believe Haydn's Menuets are generally taken too quick; undoubtedly the Menuets of Mozart's Symphonies are; this will be felt very distinctly if, for instance, the Menuetto in Mozart's Symphony in G minor, and still more that of his Symphony in C major, be played a little slower than at the customary pace.
It is vivacious, dolce indeed, and most cleverly constructed. Klindworth gives a more binding character to the first double notes. Another gleam of the Chopin sunshine. Storm clouds gather in the G sharp minor, the twelfth prelude, so unwittingly imitated by Grieg in his Menuetto of the same key, and in its driving presto we feel the passionate clench of Chopin's hand.
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