37. For a richly challenging study that explores “the subjectivity of primitive encounter as one of the horizons of meaning for Beethoven’s ‘tempestuous’ sonatas” (47), see Lawrence Kramer, “Primitive Encounters: Beethoven’s ‘Tempest’ Sonata, Musical Meaning, and Enlightenment Anthropology,” in Beethoven Forum 6 (1998): 31–65. Kramer’s association of Beethoven’s sonata with Joseph Vernet’s “Tempête au Clair de Lune” is drawn from Jander’s “Genius in the Arena of Charlatanry: The First Movement of Beethoven’s ‘Tempest’ Sonata in Cultural Context,” 585–630. Neither Jander nor Kramer attach any credibility to the Schindler anecdote, and yet the generalized idea of “tempest” as an aesthetic trope is central to both essays. Does a hearing of Beethoven’s sonata gain from this coupling, for which there is really no external evidence?