Regarding Minuet 1, there are many modulations to G minor, B-flat major, D minor, C minor, and so on. Try changing the volume and timbre (color) with each modulation. This will add to its interest. Next, regarding articulation, the atmosphere of this minuet is by no means a serious expression. As there are also optimistic parts, it would be good to play the quarter notes primarily staccato.

In Minuet 2, the bass G is sustained as if by a bagpipe, and from the second beat of measure 4, it is sustained for a long duration with ties until measure 16. This type of pedal point (organ point) is impossible to sustain for so many measures on the bass, even on a modern piano.

As a suggestion, for example, try re-striking the bass G several times between measures 4 and 16. It doesn't necessarily have to be on the first beat. By ignoring the ties and re-striking the bass G every few measures, such as on the second beat of measure 6, then the second beat of measure 8, you can achieve the sustain of the bass.

In Gavotte 2, measure 4, the half note G at the repeat marking serves as both bass and tenor. Be sure to re-strike it. In this case, consider playing it as the tenor.