Court banquet in the Redoutensaal on the occasion of the marriage of Joseph II and Isabella of Bourbon-Parma by Martin van Meytens

12 Minuets, WoO 7 for orchestra (1795, Beethoven aged 24

no.1 in D major
no.2 in B flat major
no.3 in G major
no.4 in E flat major
no.5 in C major
no.6 in A major
no.7 in D major
no.8 in B flat major
no.9 in G major
no.10 in E flat major
no.11 in C major
no.12 in F major

Dedication Vienna Artists’ Pension Society
Duration 25′

Listen

Background and Critical Reception

These dances are companions to the 12 German Dances WoO 8, and were written for the masked ball in the Large Redoutensaal, Vienna, on 22 November 1795. It is thought Beethoven had Haydn‘s sponsorship for this event – his teacher had composed for the event three years earlier, a charitable donation. It is also thought Haydn would have attended the 1795 ball.

The minuets last around 2 minutes each, and as with Beethoven’s previous dances they are easy on the ear and light on the feet – despite being composed for a relatively large orchestra, with trumpets and timpani. Daniel Heartz, in a characteristically detailed appraisal of the dances, finds them to be longer than Haydn’s examples, and notes how their choices of key tend to be a third apart.

Thoughts

There is nothing too daring here given the function they were written for, but at the same time there is an embarrassment of good tunes and danceable beats for the guests.

The third minuet, in G major, is especially lively, and has some lovely in its middle section with a pair of horns. The fourth, in E flat major, has a beefy main them which contrasts with the delightful clarinet solo in its middle section. After a while there is a danger that all the different minuets will feel like one long dance, but Beethoven varies the scoring and melodic material enough to avoid that.

Minuet no.9 is brightly scored for the wind, while no.10, returning to E flat major, is like many of these pieces still in thrall to Haydn. The last, as is Beethoven’s wont, features the shrill piccolo in its middle section, the middle of a regal F major sandwich.

Recordings used and Spotify links

The playlist below includes recordings from Philharmonia Hungarica / Hans Ludwig Hirsch (Warner Classics), the Swedish Chamber Orchestra conducted by Thomas Dausgaard on Simax and the Academy of St. Martin-in-the-Fields under Sir Neville Marriner (Philips)

Thomas Dausgaard’s crisp versions are once again a lot of fun, if a touch aggressive at times – the dancers might have a couple of bruised feet afterwards! Sir Neville Marriner and the Academy of St. Martin-in-the-Fields are typically stylish and colourful. Once again the Philharmonia Hungarica and Hans Ludwig Hirsch are more relaxed in their steps.

You can chart the Arcana Beethoven playlist as it grows, with one recommended version of each piece we listen to. Catch up here!

 

Also written in 1795 Pleyel – Keyboard Trio in D major B461

Next up Zärtliche Liebe WoO123