This minuet is very difficult to make captivating as a piece due to its extremely sparse note count. By varying the timbre, dynamics, and mood, even a simple piece can become appealing. This requires a sense of direction and changes in tonal color according to the key.

The first eight measures proceed in G major without modulation. In measures 1-2, the bass ascends, building tension, reaching the melodic note G in measure 3. Since this G is the highest note in the first half, the first half should conclude with a gradual decline from this point.

The second half modulates to E minor. Before that, there are two ascending sequences in measures 9-10 and 11-12, so the tension should be maintained and built up as it enters E minor. Measure 15 reaches B natural (H in German notation), which is the highest note of this minuet; therefore, a crescendo should be applied from measure 9 to measure 15.

Measure 16 is the cadential part in E minor. After this, from measure 17, it returns to G major, and ascending sequences continue in measures 17-18, 19-20, and 21-22, increasing tension. However, in measures 22-23, it becomes a G major cadence, and the piece concludes.

This is my personal opinion, but considering the pitch and the tension during modulation, measure 15's B natural (H) will likely be the peak point of this minuet. Performers should aim for a captivating minuet, avoiding a flat performance, by considering the mood and dynamics of each key, the direction towards the peak point, and so on.