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Recent research by Max Rudolf indicates hat the omission of the repeats within the da capo of a
Classic minuet or scherzo lacks any foundation in sources of the period and up to 1850. Rather, the few
relevant comments found suggest that it was the general custom to include the internal repeats the
second time around unless otherwise specified. Johann Mattheson confirmed the custom in 1739. Trk
added an explicit direction in the second edition of his Klavierschule:
A sort of repeat sign is also the Da Capo After the Trio of a Minuet we usually find the words Minuetto
da Capo, or abbreviated, Min. D.C. This indicates that the Minuet is to be played from the beginning, that
is with the prescribed repeats, consequently like the first time, unless ma senza replica (but without repeat)
is explicitly added.
Few would want to use this formula with every da capo, to say the least; but the passage: indicates
observance of the internal repeats, a change of dynamics at least some of the time, and an interference
that the movement does not end softly.
We do not know how often the dynamics were varied in the observance of da capo repeats during
the Classic period undoubtedly this matter was at the performers discretion. But the evidence cited
suggests that at least for some movements (Czerny mentioned scherzos; did he mean to include
minuets?) a bright sound at the end was desirable. This little information is applicable to movements
that have dynamic directions but is more important to those that do not, such as the minuets from
Haydns early sonates. In Hob. 12, for example, one dynamic scheme for the da capo would be first
section forte followed by a softer repeat; second section, mm. 11-16 played piano.
Sources for the minuets in Haydns keyboard sonates often have varying bass lines in the last
measure of each section. In some there may be a dotted half note; in others there may be the typical
quarter note descent of 1-5-1. These differences are carried over into urtext editions. For example,
compare the Menuet of Hob. 12 in JHW and HSU. It may be that the three-note bass was typically used
for continuity but that at the end of the da capo, and perhaps after the repetition before the trio, the first
bass note was held for the measure. Such a hold was sometimes suggested by a fermata over the first of
the three quarter notes.
Source:
Performance Practices in Classic Piano Music: Their Principles and Applications
Sandra P. Rossenblum