This Minuet can proceed calmly, but be careful not to let the dynamics become flat. Also, the Trio and the Minuet must be at the same tempo. After playing the Minuet for the first time, proceed immediately to the Trio. Do not pause.

Consider this Minuet and Trio as progressing in 4-bar phrases. For example, bars 1-4 are entirely on the tonic chord. In bars 5-8, a harmonic sequence appears. Since bars 5-8 have higher tension compared to bars 1-4, introduce dynamic variations.

In bars 13-16, a modulation to D major occurs. Since bars 17-20 are in D major, change the timbre to a more gentle one. In bars 21-24, there is a modulation to F-sharp minor. What impression does F-sharp minor evoke for the performer compared to B minor or D major? The dynamics in this section can be left to the performer's discretion.

In bars 25-28, apply a crescendo as it is an ascending sequence, and in bars 29-32,

and 33-36, maintain the tension as it concludes in B minor.

The opening bars 1-4 of the Trio conclude in E minor. In bars 5-8, it feels as though it ends again on the dominant of B minor. Bars 9-12 modulate via a sequence, and bars 13-16 conclude in D major. In bars 17-20, A begins to change to A-sharp, foreshadowing a return to B minor. Bars 21-24 fully return to B minor.

As the modulations change rapidly, try to control the timbre and volume accordingly each time.

Upon returning to the Minuet, I personally believe that repetitions are not necessary.