This sonata was composed in
1801/02, and is usually referred to as "The Tempest", a title not
given by Beethoven himself, but rather by his associate Anton
Schindler who claimed it was inspired by the "The Tempest" Shakespeare play. However, much of Schindler's information is distrusted by classical music scholars.
Each of the three movements can be generally considered a sonata form. The first movement alternates tempi of Largo and Adagio with Allegro in an unprecedented manner, and delays tonal resolution until an unusually late
point. The first idea (in Largo) is merely a slow, arpeggiated chord on the dominant, and immediately thereafter the
second idea appears in allegro. The whole movement is based on these two
ideas. At the beginning of this movement's recapitulation, a new distant and
seemingly detached recitative section appears between the two main ideas.
The
second movement in B flat major is an adagio,
characterized by a distinctive pastoral atmosphere. The third movement is a sonata-rondo
hybrid. It is very moving, 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. Ishay Shaer
Classical Music | Piano Music
Ludwig van Beethoven
Piano Sonata No. 17 in D minor, Op. 31, No. 2 Play
Recorded on 06/07/2011, uploaded on 06/07/2011
Musician's or Publisher's Notes
This sonata was composed in 1801/02, and is usually referred to as "The Tempest", a title not given by Beethoven himself, but rather by his associate Anton Schindler who claimed it was inspired by the "The Tempest" Shakespeare play. However, much of Schindler's information is distrusted by classical music scholars.
Each of the three movements can be generally considered a sonata form. The first movement alternates tempi of Largo and Adagio with Allegro in an unprecedented manner, and delays tonal resolution until an unusually late point. The first idea (in Largo) is merely a slow, arpeggiated chord on the dominant, and immediately thereafter the second idea appears in allegro. The whole movement is based on these two ideas. At the beginning of this movement's recapitulation, a new distant and seemingly detached recitative section appears between the two main ideas.
The second movement in B flat major is an adagio, characterized by a distinctive pastoral atmosphere. The third movement is a sonata-rondo hybrid. It is very moving, 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. Ishay ShaerMore music by Ludwig van Beethoven
Trio No. 5 in D Major “Ghost” for Violin, Cello and Piano Op. 70, No. 1
Sonata No. 31 in A-flat major, Op. 110
12 Variations on a theme from Mozart's "The Magic Flute"
12 Variations in G Major on "See the Conqu'ring Hero Comes"
Trio No. 5 in D Major “Ghost” for Violin, Cello and Piano Op. 70, No. 1
Sonata No. 21 in C major, Op.53, "Waldstein"
Trio for Piano, Violin and Cello in B-flat Major, Op. 11
32 Variations in c minor, WoO 80
Cello Sonata No. 4 in C Major, Op. 102, No. 1
Sonata No. 8 in c minor, Op. 13 "Pathetique"
Performances by same musician(s)
Etude Op. 25, No. 5 in e minor
Etude Op. 25, No. 6 in g-sharp minor
Gaspard de la Nuit - Scarbo
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