This instruction continues from measure 41 through 57, where agitated pairs of 8th notes return, picking up the opening motif. As expected, I use blocking or clustering to keep the redundant figures resilient and bundled with energy. (a forward moving wrist motion is attenuated in rapid tempo, but more exaggerated in the slow practice phase) The refueling of energy through the wrist and relaxed arms avoids fatigue.
I separately focus on the Left Hand figure that alternates between the Tonic and Dominant of A minor and breathes longer breaths against the frenetic 8th-note pairs in the Right hand.
Solfege is also a good learning adjunct. Using a movable DO, you can keep track of modulations away from D minor. In the case of measures encompassing this Part THREE instruction, A MINOR is clearly underscored.
It’s fascinating to observe that Beethoven fleshes out quite a bit of A minor in this opening D minor movement, reflecting his affinity for this key.
Part ONE Beethoven Tempest Sonata in D minor
Part TWO Instruction