Compositor (composer): Ludwig van Beethoven(17701827)
Título (title): Sinfonia n.° 8, Em Fá Maior (Opus 92) Symphony No. 8 in F Major (Op. 93)
Modalidade (genre): Sinfonia (Symphony)
Instrumentos:

2 flautas (2 flutes)
2 oboés (2 oboes)
2 clarinetes (2 clarinets)
2 fagotes (2 bassoons)
2 trompas (2 horns in F and B flat)
2 trompetes (2 trumpets in F)
Tímpanos (timpani)
instrumentos de corda (strings)

Movimento (movements):

I: Allegro vivace e con brio (1º movimento/1st movement)

Descrição (description):

A Sinfonia n.° 8, Em Fá Maior, Opus 92 foi escrita por Ludwig van Beethoven no ano de 1812. Frequentemente, Beethoven referiase a essa sinfonia como "minha pequena sinfonia em fá maior", diferenciandoa de sua Sinfonia n.° 6 ("Pastoral"), escrita na mesma tonalidade.Assim como várias outras obras de Beethoven, como as sonatas para piano Opus 27, a oitava sinfonia desviase da tradição clássica, deixando o último movimento o mais intenso da obra. Possui passagens alegres e altas, com muitas notas acentuadas. Várias passagens da sinfonia são entendidas por alguns como piadas musicais.



Symphony No. 8 in F Major, Op. 93 is a symphony in four movements composed by Ludwig van Beethoven in 1812. Beethoven fondly referred to it as "my little Symphony in F," distinguishing it from his Sixth Symphony, a longer work also in F.

The Eighth Symphony is generally lighthearted, though not lightweight, and in many places cheerfully loud, with many accented notes. Various passages in the symphony are heard by some listeners to be musical jokes. As with various other Beethoven works such as the Opus 27 piano sonatas, the symphony deviates from Classical tradition in making the last movement the weightiest of the four.

This movement is in the home key of F major and is in fast 3/4 time. As with most of Beethoven's first movements of this period, it is written in sonata form, including a fairly substantial coda. As Antony Hopkins has noted, the movement is slightly unusual among Beethoven's works in that it reaches its dramatic climax not during the development section, but at the onset of the recapitulation. To this end, the concluding bars of the development form a huge crescendo, and the return of the opening bars is marked fff (fortississimo), which rarely appears in Beethoven's works, but has precedents in the 6th and 7th Symphonies. This extravagance is made up for however, in the quiet closing measures of the movement.
The opening theme is in three sections of four bars each, with the pattern fortepianoforte. At the onset of the recapitulation, the theme is made more emphatic by omitting the middle four bars.
(http://en.wikipedia.org/wiki/Symphony...)

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