The Epilogue speculates on what Haydn might think about a study of his minuets and considers further applications of the research to other repertoires and fields.

In this chapter a method of ‘somatic enquiry’ is put forward, which demonstrates ways in which the bodily knowledge of the minuet might inform analytical approaches to this repertoire. Drawing on other contributions to the field of somatic studies by scholars such as Suzanne Ravn and Maxine Sheets-Johnstone, it demonstrates ways in which the sensation of dancing informs my perception of the musical sounds, and conversely how the sounds affect my body’s kinaesthetic sensations. Taking Elisabeth Le Guin’s similar exploration of Boccherini’s body as a model, it considers challenges faced by any attempts to grapple with bodily knowledge. It builds on Christopher Hasty’s notion of projection, or ‘throwing forth’, in his theory of metre, arguing that to dance is a physical throwing forth of one’s body. The method of somatic enquiry is illustrated through detailed accounts of dancing to movements from Haydn’s Minuets Hoboken IX:11, composed in 1792 for the first annual ball of the Gesellschaft bildender Künstler at the Hofburg Redoutensaal. Ultimately, it argues that musical listening (even when seated) is a more active bodily experience than is typically recognised, even when one’s awareness of this activity is limited.

This chapter turns to the concert minuet, asking how somatic knowledge of the minuet dance informs engagement with and understanding of this genre. The chapter begins with writings that show eighteenth-century listeners discussing concert minuets in relation to the minuet dance step, as well as eighteenth-century music-theoretical discussions of minuet composition that put forward a view of the concert minuet as the nonconformist version of the dance minuet. Two case studies discuss minuets from Haydn’s ‘London’ Symphonies – Nos. 97 and 102 – which were written around the same period as the dance minuets discussed in the previous chapter, and were also performed in Vienna in the 1790s. These case studies show ways in which Haydn plays with expectations formed by the dance minuet: he subverts the structural norms of minuet composition, as well as manipulating one’s feeling of the dance step. The argument is made that, while traditional forms of analysis tend to seek subversion of expectations as a feature for explication, minuets and somatic enquiry invite us to see artfulness through a different lens.

In this chapter the choreography of the minuet as it was performed in late eighteenth-century Vienna is reconstructed. Unlike previous iterations of the dance, the minuet in this context was performed as a group dance, undertaken by many couples dancing simultaneously, and the minuet’s development as a group dance is considered in relation to its previous history. The choreography is reconstructed from German-language dance treatises written around the end of the eighteenth century. The minuet step is explained, and readers are taught how to perform it. The main figures of the minuet are given – the Z-figure, the révérences, the giving of hands – and comparative schemes for these figures from the different treatises are set alongside each other. The overall structure of the dance is established, and practical logistics of performing the dance alongside other dancers in a crowded space are considered. The minuet’s association with the enactment of ‘nobility’ is interrogated.

This chapter explores the dance culture of Vienna in the latter half of the eighteenth century. It describes the changing legislation that opened up the city’s dance halls to a paying public, and the subsequent establishment of new dance venues across the city and its suburbs. It considers the social make-up of attendees at these venues, and ways in which social class was both entrenched and destabilised in this setting, particularly through practices such as masking. Descriptions of the minuet, the German dance and the contredanse – the three main dances performed at the public balls during this period – are given. The chapter ends with a detailed account of a public ball hosted by the Gesellschaft bildender Künstler at the Hofburg Redoutensaal on 25 November 1792, for which Haydn composed the music. The aim of focusing on this one event is to paint as vivid as possible a picture of the scene, such that readers can readily put themselves ‘in the shoes’ of minuet dancers in Vienna at the end of the century.

In November 1792, Beethoven arrived in Vienna to study with Haydn and ultimately to make his career. Such was the importance of dancing as a social skill that Beethoven included finding a dancing teacher on his ‘to-do’ list and upon arrival in Vienna copied out the details of a dancing teacher from the Wiener Zeitung. In the same month, Haydn returned to Vienna from his first trip to England, and his first task was to compose minuets and German dances for a ball in the city’s Redoutensaal at the end of the month. November 1792 thus sets the scene for an investigation into the dance culture of Vienna at the end of the eighteenth century, and its implications for minuet composition, with a focus on minuets by Haydn. Following a description of Beethoven’s arrival and Haydn’s return, the Introduction considers existing musicological attempts to consider the minuet, and provides a summary outline of the book that follows.

This chapter explores the repertoire of minuets composed around the end of the eighteenth century specifically for dancing, considering them particularly in relation to the needs (perceived and real) of the dance. The research is based on an in-depth study of 319 minuets (and trios) composed for the annual balls of the Gesellschaft bildender Künstler at the Hofburg Redoutensaal. Certain defining features of the repertoire are identified, such as the two-bar grouping necessary for the dancers’ enactment of the minuet step. Larger-scale features are explored, such as the perceived need by music theorists (and possibly some composers) for eight-bar phrases to accommodate the choreography – even though the choreography does not actually dictate this – and the extent to which this might be considered a key structural feature of the minuet genre. The minuet choreography (established in Chapter 2) is set against the structure of a typical minuet composition, revealing that, while on the small scale there is considerable coherence between step and two-bar groupings, on the larger scale there is little correspondence between dance figure and musical phrase lengths. Compositional creativity, noble musical expression and musical anomalies are considered.

Chapter 4 focuses on treatises by Giambattista Dufort, Il Trattato del Ballo Nobile (1728), and Gennaro Magri, Trattato teorico-prattico di ballo (1779). Given the intentionally didactic nature of Dufort’s treatise and its concentration on the minuet, the presentation of the fundamentals, mechanics of the genre, and how to execute the mandatory steps are the primary points for discussion. Magri’s later treatise is a much broader reflection on the contemporary dance environment of Naples (including ample reference to the pantomime and grottesco traditions), and it mirrors the preference for the contradance that emerged in the latter part of the century. Accordingly, Magri concentrates on this more intricate social dance, not only providing the reader with detailed explanations of its content but also devising specific graphic notation paired to original music. This approach provides unprecedented insight into contemporary social dancing and its place within the aristocratic culture of Naples. Given Magri’s career as a primo ballerino in the grottesco tradition, the narrative references ongoing polemics with Charles LePicq (student of Noverre and principal exponent of pantomime style). Finally, Magri’s role at the royal festivities in the capital city and in Caserta is considered.

The minuet is traditionally viewed as the archetypal aristocratic dance, and the expressive opposite of the German dance or waltz. In topic theory, the minuet topic is understood to derive its noble associations from its proper context as a dance of the aristocracy. Yet in Viennese ball culture of the late-eighteenth century the minuet was danced by all classes, and it no longer functioned as the ceremonial opening dance as it had in balls at the court of Louis XIV. Nevertheless, the minuet continued to be characterised as aristocratic in dance treatises and on the stage even though all classes danced it in the ballroom. This chapter argues that dancing the minuet in the Viennese ballroom involved enacting a concept of aristocratic behaviour that derived from realms other than dance, including theatre and masquerade

Joseph Fort ponders a specific case of late eighteenth-century musical embodiment, one that has its origins in social and popular dance: a minuet by Joseph Haydn (Minuet in D major, Hob. IX/11, no. 1), emblematic not of contemporary concert-hall music, but of the music performed in front of a living – and physically mobile – audience at the charity ball held at the Hofburg Redoutensäle in Vienna, 25 November 1792. Reconstructing both the music and the dancing, Fort offers a revealing account of the Vienna dance scene, as well as the minuet’s position within it. More than this, though, he presents a close reading of the interrelations between music and dance from a specifically somatic perspective – one that is deeply intuitive, subjective and sensorial. Realizing his innovative approach alongside similar scholarly attempts at ‘live’ musical embodiment (particularly the work of Elisabeth Le Guin), Fort offers an analysis of the movement that reveals insights into not only the musical score, but also the intrinsically musical and gestural experience of dancing to it.

Two case studies, one broad and one more specific, feature in this chapter. The pastoral is more than a musical topic; it is an encompassing orientation that intersects with the taste for reduction that I considered in Chapter 3 and those elements of affective sociability mentioned in Chapter 4. Indeed, the galant style altogether could be said to have aspired to the condition of the pastoral. As well as continuing the traditional idyllic pastoral representations, our style also introduces a more vigorous brand of folk imagery. The tempo di menuetto finale, a neglected movement type, can be understood as a countergeneric construct, increasingly written in pointed contrast to the fast final movement of instrumental works. It helps us to unlock some of the neglected aspects of the style altogether by modelling an intimate sensibility, full of feeling but disciplined by a minuet gait that promotes continuity of motion. With its undemonstrative depth, it provides some clue as to what has been missing or misunderstood in the reception of musical sociability.