Tempestuous translations: Exploring the artistic and thematic relationship between Shakespeare\u27s The Tempest and Beethoven\u27s Tempest piano sonata in D minor op.31 no.2

Shakespeare’s last single-authored play, The Tempest, calls for a wide variety of different kinds of music and sounds. From the deafening roar of the crashing waves and the mighty blasts of thunder during the tempest that spectacularly introduces the play to the festive singing and dancing of the mystical masque celebration, the play is filled with musical sounds. The power of music is a continuous dramatic and thematic subject throughout the play; musical sounds and songs are given the ability to influence the actions and emotions of the characters, as well as the course of events. It is perhaps for these reasons that Ludwig van Beethoven replied “Just read Shakespeare’s Tempest” when he was asked to explain the meaning of his piano Sonata in D minor, Op. 31, no. 2 (Jones 44). Because of this response, the nickname “The Tempest” has been applied to the sonata ever since