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):

IV: Allegro vivace (4º movimento/4th 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 is the most substantial movement, in very fast tempo. It is written in a version of sonata rondo form in which the opening material reappears in three places: the start of the development section, the start of the recapitulation, and about halfway through the coda. This is the first symphonic movement in which the timpani are tuned in octaves, foreshadowing the similar octaveF tuning in the scherzo of the Ninth Symphony.
The fourth movement imitates the first in that the move to the second subject first adopts the "wrong" key, then moves to the normal key (exposition: dominant, recapitulation: tonic) after a few measures.

The coda is one of the most substantial and elaborate in all of Beethoven's works. The coda has two particularly striking events. The harmonically outofplace loud C♯ that interrupts the main theme in the exposition and recapitulation finally gets an "explanation": it turns out to be the root of the dominant chord of the remote key of F♯ minor, and the main theme is loudly played in this key. A few measures later, there is a stunning modulation in which this key is "hammered down" by a semitone, arriving instantaneously at the home key of F major.

The symphony ends in good humor on a very long passage of loud tonic harmony. Tchaikovsky called this movement, "One of the greatest symphonic masterpieces of Beethoven.
(http://en.wikipedia.org/wiki/Symphony...)

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