IT was Beethoven who turned the often rather conventional Third Movement piece, the Minuet, into the Scherzo, a thing of greater variety and resource. This Scherzo goes at a fast pace, beginning in a quiet, ' 'pussyfoot' manner, and rising to a good climax very soon. Then the three instruments start throwing the First Main Tune from one to another, but soon come back to their first way of stating it, and so the opening section of the Scherzo is completed, with a very decided feeling of ' so much for that idea ' about its soft but emphatic close. Follows the middle part, or ' Trio ' (an old name for this part of the Movement; in pieces for more than three players the section used to be given to three of them, for contrast's sake). The Trio is very short and light-an excellent foil to the first section, which duly returns. A dainty little Coda (a mere whisk of the tail) is added.