Minuet in trio

Normally I play the minuet a little faster and the trio a bit more... it also depends a lot on the notation though... as soon as I can, I'll look at the sonata

Or the same tempo... it depends from minuet to minuet

The minuet derives from a French dance and up until the very early Beethoven, it is also performed in composers' works precisely as a dance; consequently, I usually choose tempos that allow me to actually dance to it, and the trio depends, but usually, at the same tempo as antares says.

From Beethoven onwards, it will evolve into the Scherzo

... perhaps useful

http://www.pianoconcerto.it/forum/index.php?/topic/2870-quali-differenze-passano-fra-minuetto-e-rondo

... perhaps useful

All the comments were common sense, and when talking about interpretative choices, it is always good to rely on common sense. I will add, then, another criterion of common sense: every dance has a clear accentual, rhythmic structure. These structures go beyond the simple definition "it is a ternary dance" or "it is a binary dance"; they are often characterized by small, internal rhythmic elements. I don't know, the Waltz often has a strong accent on the second beat, which leads to a characteristic rubato, but "officially" this accent shouldn't exist. And indeed, you can only put it in Waltzes where it fits, where the writing allows you, with an accent on the second beat, to bring out interesting things.

Another thing that very few people take into consideration: until the entire 1600s, triple meters could also be played "alla zoppa" (limping), with a so-called "unequal" feel—something we would consider "rubato" today, but which in the musical theory of those times was an integral part of the metric discourse. The three beats of a 3/4 time did not all have equal duration; that is, the accents on the various beats substantially varied the duration of the notes as well. The unequal metric feel (within the meters, because in "volatine" or embellishments it is something else) leads to a long first beat, a short and unaccented second beat, and a third beat "linked" to the first. This is how ternary compositions with an anacrusis should be measured, with an upbeat that clearly resolves on the first beat of the following measure. If you beat a 3/4 as if the third beat of the previous measure were ALWAYS a clear upbeat for the next measure, you end up having, precisely, a "limping" rhythm. Very often, reading ternary meters this way brings out very interesting things.

In principle, the tempo should ALWAYS be reconnected to the meter and its structures. I can even write "Lento" on a composition, but if I then write using musical meters that do not fit with the lento, then my indication should not be taken literally, as if it were a metronome marking.

Thank you very much for all your answers