In the original key of A major the realisation plays back at 96 quarter note beats to the minute.The Minuet is taken from Boccherini's String Quartet Opus 11 No.5 The small notes which are in the string quintet score do not sound in the realisation for flute and piano but can be played. Ossia staves are in place on the sheet music score showing how the ornaments can be played. In both the playback score and the sheet music video repeats are played. The melodic line especially in the first Minuet demonstrates all the essential elements of classical style. In fact this movement offers much to learn about many performance aspects of playing a minuet. Formally the repeats are played in the Minuet and Trio but not in the repeat of the first Minuet after the Trio. A performance would typically be a follows: Minuet 1 AABB Trio AABB Minuet 1 AB (without repeats) The repetitive element is strong in the first Minuet structured on 2 bar motifs or shapes in a regular phrase pattern. Whilst the minuet was a dance form this music is a stylised representation of the form not intended as a dance. Two section binary form AB is in place in both the Minuet and Trio The first Minuet is very much about melody and accompaniment whilst the second Minuet or Trio is an interesting movement because it embraces ensemble playing with much sharing of material between the parts. Both staccato and legato articulations need to be demonstrated in a performance Boccherini was in a perfect moment when he composed the movement which possesses many of the elements of classical style Accompaniments are in place playing with and without repeats at 88, 92, 96,100 & 104 quarter note (crotchet) bpm. The first Minuet is in the key of A and at the end of the first A section the key of the dominant E is established. The B section of the Minuet explores the tonic minor before returning to the music of the opening section in the home key of A. The first section is 8 bars long and the second 12 bars (4+8) The second Minuet or Trio is in the key of the subdominant D. Similarly there is a modulation to the dominant at the end of the first section before a return to the home key. The phrase structure of the Trio is quite symmetrical 8 bars in the fist and 16 bars in the second section. Both minuets begin with an anacrusis or upbeat. For any student of composition student this is an excellent movement for analysis. There are some lovely composition ideas and Boccherini's compositional approach is both concise and innovative with syncopation and a sense of drama and purpose. For both the listener and the performer this composition has much to offer.
