1. Menuet Antique

This is a very famous piece, and while opinions on it are divided, it can become a breathtaking masterpiece depending on the performance. Consequently, excellent technique is also required. The most important element required for this piece is “improvisation.” I believe the tempo should be quite flexible. In short, avoid playing like a metronome. The piece begins with a cheerful melody up to measure 8. From here, improvisation is already necessary, aiming for a “grace” that suggests an elegant conversation among sophisticated aristocrats, taking care not to sound heavy. The “chatter” up to measure 8 might even contain some playful, coquettish elements. From measure 9, I think it's good to start with a slow tempo and gradually accelerate. It's as if there's an exciting, enjoyable anticipation that makes one restless.

From measure 20 onwards, that sense of excitement reaches its peak, aiming for measure 27. Along the way, the left-hand accompaniment changes to octaves at measure 24. Personally, I feel it's more natural for the octaves to emerge within a natural flow, rather than suddenly becoming loud from this point, so that the crescendo from measure 20 makes sense with the octaves at measure 24. Therefore, the octaves at measure 24 should not start too loudly; rather, it feels smoother to build the volume towards measure 27.

The climax of happiness is from measure 28 onwards. Compared to measures 1-7 at the beginning, the left-hand melody in measures 7-8 appears as a very flamboyant cadenza at measure 34. Viewed this way, the A section extends to measure 44, meaning there is a drama from measure 1 to measure 44 where emotions change rapidly, reaching the peak of happiness. Skillfully directing this drama is crucial, which requires a wide dynamic range.

The B section begins at measure 45 and continues until measure 76. The B section is rather calm. “Calm” does not mean serious; it merely suggests a slightly more realistic tone. The “conversation,” despite containing many issues, evokes the feeling of recalling pleasant memories when the A section returns at measure 77. From measure 65 onwards, a long trill appears in the right hand. Be careful not to let it become too loud. The speed of the trill can be varied. Play it so that it flows smoothly and naturally into measure 77.

Returning to the A section, the Coda begins at measure 117, marked “Vivo.” Of course, this doesn't necessarily mean “fast,” but rather “lively.” However, considering the trills and triplet figures written in this Coda, I believe a faster tempo would enhance its liveliness.

The ending is marked “p,” but after playing the chord, the performer should quickly lift their hands, concluding with a light, refined elegance.