It is almost certainly the case that the nickname "Tempest" for this sonata originated from an anecdote (a fabrication) created by Schindler, who claimed to be Beethoven's secretary. The style of this sonata—especially the first movement—seems to bear a closer affinity to Haydn's compositional style of the same name, influenced by the literary Sturm und Drang (Storm and Stress) movement, rather than to Schindler's reference to "Shakespeare's Tempest." This is because rapid changes in tempo and dynamics in minor keys are characteristic aspects of this style.

First Movement: D minor, 2/2 time, Sonata Form

(Exposition)

The opening of this movement is highly striking, with dizzying changes occurring within just six measures: a Largo beginning with an arpeggiated dominant chord in first inversion, the presentation of a descending second motive in Allegro, and a half cadence with a turn in Adagio. When the tempo slows to Largo again and the theme is established in the relative major, F major (m. 7ff.), a new theme appears (m. 21ff.) featuring an ascending dactylic arpeggio and an expanded inversion of the turn figure, accompanied by arpeggios and eighth-note triplet arpeggios. In essence, these two main themes are different manifestations of common elements. This theme is also established in F major (m. 29ff.), and after a transition (m. 41ff.), the secondary theme (m. 55ff.) is presented in the dominant key (A minor).

The secondary theme, which begins in the low register with the tonic chord in first inversion, has a melodic line that is an expansion of the turn figure, revealing a close connection to the main theme. The emphasis on the second beat with sf also derives from the rhythmic characteristic observed in the establishment of the second main theme.

(Development + Recapitulation)

The development section (m. 93ff.), which begins in Largo like the opening, first explores tonality with ascending arpeggios. It initially hints at the dominant chord of G minor but quickly moves to a diminished seventh chord on B-sharp, leading to the tonic chord in second inversion of F-sharp major. Partially subverting this, the tonality shifts to F-sharp minor, and the second main theme is developed in Allegro. The secondary theme appears in a disaggregated chordal form (m. 122ff.), leading into the recapitulation (m. 142ff.).

The Largo section is expanded by the insertion of a recitative-like monophonic passage, and the second main theme loses its original form, transforming into cadenza-like arpeggios, almost becoming part of the transition. The secondary theme is recapitulated in the tonic key, and the movement closes as if sinking away.

Second Movement: B-flat major, 3/4 time

This movement is in B-flat major, which is the submediant key relative to D minor of the first movement. Its opening, with an ascending arpeggio of the tonic chord, will surely remind everyone of the opening of the first movement.

It takes a two-part form based on a sonata-form-like tonal structure, featuring a tonic theme characterized by double-dotted rhythm and a dominant theme (F major, m. 22ff.) accompanied by an intermittent dominant tremolo. In the latter half (m. 43ff.), both themes are recapitulated in the tonic key. In this recapitulation section, the first theme is transformed with thirty-second note arpeggios.

Third Movement: D minor, 3/8 time, Sonata Form

(Exposition)

The main theme continues without interruption, characterized by a figural texture consisting of continuous sixteenth-note chains, which one might describe as prelude-like. The secondary theme (m. 43ff.), which exhibits metric displacement and a duple meter characteristic, and features a descending second motive that resonates with the first movement, appears in the dominant key of A minor and is established by octaves (m. 51ff.).

(Development + Recapitulation)

The development section (m. 95ff.) exclusively deals with the figuration of the main theme. Modulations are relentlessly repeated through a chain of textures. It begins in G minor, then proceeds to A minor, D minor, C minor, and B-flat minor. After passing through A-flat major, the main theme reappears in B-flat minor. This is further developed over the dominant chord of D minor, and a monophonic passage with hemiola prepares the recapitulation (m. 215ff.).

After both themes appear in the tonic key of D minor, an extended coda (m. 323ff.) brings this sonata to a close. Through figural passages of the main theme, passing through G minor and A minor, the main theme returns in D minor in a form emphasizing the dominant. Following a rapid chromatic descent that appeared in the exposition, the piece concludes with a descending arpeggio of the tonic chord amidst a chain of figures.