The Tempest Sonata (formally known as Opus 31, No. 2 in D Minor) is one of the most celebrated piano sonatas and is a pivotal work in Beethoven’s transition from classical norms towards a more emotive, personal style. The work was written doing a period of creative fervour in which Beethoven grappled with profound despair at his struggle with deafness. This emotional backdrop infuses the sonata with layers of complexity, enriching its interpretation beyond mere technical prowess.
Shakespearean inspiration?
The nickname is not Beethoven’s though it has become universally accepted: the only justification for it is that Beethoven is said to have muttered, when someone asked him the meaning of the sonata, ‘Read Shakespeare’s Tempest!’
Interestingly the sonata, along with the other two sonatas of Op.31, has no dedication: perhaps, in Beethoven’s conscious wish to forge a new, tighter and more intensely expressive style, the sonatas felt too personal and independent-minded for him to want to dedicate them to a patron or pupil.
Beethoven’s Psyche
The sonata comprises three movements, each offering distinct insights into Beethoven’s psyche. The stormy first movement captures the tumultuous essence of Beethoven’s inner turmoil, while the tranquil second movement, transitioning from D Minor to F Major, symbolises a shift towards hope and serenity amidst adversity. The finale, marked by its playful, ironic undertones, adds another dimension to the sonata’s narrative, reflecting Beethoven’s resilience in the face of adversity.
Musical innovations
The first movement picks up on the innovation of the Pathétique by opening with a slow introduction which recurs at key points in the movement. On subsequent appearances it is accompanied by a ghostly recitative for which Beethoven instructs the player to keep the sustaining pedal depressed – a cause of much argument over the years. The bulk of the movement is a fast, breathless and intense Allegro.
The Adagio movement, in the submediant key of B flat major (another Beethoven innovation) is broad, noble and dignified. The sonata form Allegretto finale has a perpetual motion theme that was apparently suggested to Beethoven by the galloping of a horse outside his window: like so much in his middle period masterpieces, it has become iconic and it is difficult to imagine the musical landscape without it.
New video lecture series
In a new video lecture series on the Online Academy, pianist Julian Jacobson gives a detailed walk-through of the work. Whether you’re embarking upon playing it or simply want to discover more about it, these videos give extensive insights on style, interpretation and performance.
Click here to view the introductory video on the Online Academy or you can watch Julian’s performance of the full work here:
Pathétique, Moonlight & More!
If you’d like to learn more about how to approach Beethoven’s sonatas then you may be interested in Julian’s online presentation on Wednesday 22nd May @ 19:00 – 20:30 BST. In this online event, Julian will give insights on interpretation, style, technical challenges and fingering suggestions for a selection of some of the more accessible movements from the sonatas. These will include two of the most famous movements and two other rewarding choices offering an excellent introduction to Beethoven’s style. Click here to find out more and to book your place!
Further links & resources
- Click here to view Julian’s author page on the Online Academy or click here to view his previous blog post on embarking upon Beethoven’s piano sonatas.
- Click here to view an index of our Beethoven on Board series which features detailed video lectures on Beethoven’s first five sonatas (or click here for a blog preview for the first sonata).
- Click here for more information on Julian’s recommended edition for this work (Bärenreiter). These editions are also available on the digital sheet music app Oktav and readers can also use discount code PRACTISINGTHEPIANO30 to get 30% off an annual subscription to Oktav.