This minuet should be considered as an interplay between large and small ensembles. The large ensemble can be regarded as the orchestra's tutti. If this is the case, the orchestral sections should be played with a sense of dignity.

For example, measures 1-8 are the tutti section, and should be played forte throughout. Subsequently, measures 9-16 represent the small ensemble, and should be played piano (p) even if written in octaves. Following this, measures 17-24 are identical to measures 1-8, and should be played forte.

In the Trio section, focus solely on the octave passages, where the orchestra suddenly interjects. There are 4 such octave passages in the Trio section, which should be played suddenly forte.

However, when playing forte, aim for an 'internal forte' – one that is not excessively loud in terms of volume. This implies a high level of tension and a desire to exert force, yet the actual sound produced should be restrained, perhaps around mezzo forte, without being struck aggressively.