symphony. We hear its persistent beat in the scherzo as well:

[Music illustration]

and also in the last movement:

[Music illustration]

More than this, we find the motive haunting the first movement of the
pianoforte sonata in F minor, op. 57, known as the "Sonata
Appassionata," now gloomily, almost morosely, proclamative in the
bass, now interrogative in the treble:

[Music illustration]

[Sidenote: _Relationships in Beethoven's works._]

[Sidenote: _The C minor Symphony and "Appassionata" sonata._]

[Sidenote: _Beethoven's G major Concerto._]

Schindler relates that when once he asked Beethoven to tell him what
the F minor and the D minor (Op. 31, No. 2) sonatas meant, he received
for an answer only the enigmatical remark: "Read Shakespeare's
'Tempest.'" Many a student and commentator has since read the
"Tempest" in the hope of finding a clew to the emotional contents
which Beethoven believed to be in the two works, so singularly
associated, only to find himself baffled. It is a fancy, which rests
perhaps too much on outward things, but still one full of suggestion,
that had Beethoven said: "Hear my C minor Symphony," he would have