30. Owen Jander suggests that the pedal indications in the opening measures constitute Beethoven’s “first venture into the realm of composition for a fortepiano with a damper pedal” and further, that “Beethoven’s first published specification for the use of the modern damper pedal was at the service of ever-controversial ‘musikalische Mahlerei’.” See his “Genius in the Arena of Charlatanry: The First Movement of Beethoven’s ‘Tempest’ Sonata in Cultural Context,” in Musica Franca: Essays in Honor of Frank D’Accone, ed. Alyson McLamore, Irene Alm, and Colleen Reardon (Stuyvesant, N.Y.: Pendragon Press, 1996), 585–630, esp. 594. But the distinction in terminology is rather more complicated than Jander lets on. Beethoven used “senza/con sordino” in the sketchbooks until the winter of 1803–1804, among sketches for the “Andante favori” (WoO 57) on page 121 of the sketchbook Landsberg 6. See Kramer, “On the Dating of Two Aspects,” 164.