![]() The recapitulation, which is preceded by an extensive cadenza-like passage of sixteenth notes for the right hand, is followed by another transition and then another statement of the primary theme. It is at first flowing with emotion and then reaching a climax, before moving into an extended development section which mainly focuses on the opening figure of the movement, reaching a climax at measures 169–173. The third movement is also in sonata form and is back in the home key of D minor. The British music scholar Donald Francis Tovey says in A Companion to Beethoven's Pianoforte Sonatas: Although much of Schindler's information is distrusted by classical music scholars, this is a first-hand account unlike any other that any scholar reports. Sturm, the preacher and author best known for his Reflections on the Works of God in Nature, a copy of which he owned and, indeed, had heavily annotated. 57, the Appassionata sonata, that he should read Shakespeare's Tempest some however have suggested that Beethoven may have been referring to the works of C. ![]() ![]() ![]() The name comes from a reference to a personal conversation with Beethoven by his associate Anton Schindler in which Schindler reports that Beethoven suggested, in passing response to his question about interpreting it and Op. It is usually referred to as The Tempest (or Der Sturm in his native German), but the sonata was not given this title by Beethoven, or indeed referred to as such during his lifetime. 2, was composed in 1801–02 by Ludwig van Beethoven. ![]()
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