English Commentary by Sergio Cánovas 

Beethoven’s Symphony No.8 was started in summer of 1812, immediately after the seventh, being finished on October of that year. It was premiered on 27 February 1814, in the Grosser Redoutensaal of Vienna. It was well-received by both public and critics alike, but it was unfavourably compared to the previous symphonies, which received much more attention and admiration. Beethoven was angry about it, as himself considered the eighth as one of his best works. The symphony may seem similar as the first two, much more in the classical vein Beethoven was raised. However, this comparison is rather superficial, as Beethoven’s personal touches, gestures, use of forms and other elements are very present. We could find the work as both a parody and an homage to Haydn, towards whom Beethoven’s admiration (despite many incidents while he was his pupil) was clear of doubt. The composer’s musical humour, a very present aspect in his work, was thus misunderstood by everyone, and the work wouldn’t be appreciated until after Beethoven’s death.

The first movement is structured in sonata form. Opens with a vivacious Haydnesque main theme, followed by a dance-like second theme. This is followed by a full reexposition of the themes, as it was usual at the times. The development is imaginative, combining the materials with sudden unexpected twists and outbursts. Unusually, a great climax links the development directly with the recapitulation of the themes. The coda is extensive and developed, begins calmly before exploding in a surge of energy, however it calmly ends with a brief reminiscence of the main theme.

The second movement is structured as a sonatina (sonata form without development). It opens with a simple rhythmic theme over the constant staccato chords of the wood. This could be a reference to Haydn’s Symphony No.101, whose second movement has a similar mechanical rhythmic element, but it also could be a reference to Maelzel’s metronome, which had just been invented. The second theme, derived from the main one, is more vivacious and elaborate. Follows the recapitulations of the themes. The coda opens with a shortened modification of the main theme, rushing towards an intense conclusion.

The third movement is a nostalgic menuetto in ternary form. Instead of the usual scherzo, which Beethoven had been using since his second symphony, he puts a slower movement which by the times it was already slowly disappearing. The menuetto itself, presented by the strings, is not particularly close to its 18th-century models, as it retains a rather coarse, thumping rhythm. The trio opens with delicate solos of horn and clarinet, presenting a contrasting lyrical theme of bucolic peace. The menuetto is then recapitulated. A firm coda ends the movement.

The fourth movement is structured in sonata form with rondo elements. Opens with a rhythmic and playful main theme, followed by a more melodic second theme which maintain that playfulness. What seems like a recapitulation turns into the first development section, short but interesting, using elements from the first movement to bring cohesion. Follows a varied recapitulation of both themes. A second development section comes, being more daring in terms of harmonic modulation, rising in a climax with the entrance of timpani and trumpet. Then comes a varied recapitulation of the themes. The coda, one of the most substantial and elaborate in all of Beethoven’s works, reunites elements found in the whole work unified towards an exciting conclusion. With Symphony No.8, Beethoven continued to explore and reconsider the possibilities of the genre. The work certainly seems to complement everything he had done before, like his Symphony No.4 following the expansive Eroica. After the big Symphony No.7, No.8 recalled the Classical tradition in its size and scope. Neither of these works, however, are regressive in their compositional skills; quite the contrary. Beethoven’s statement about the Eighth being “much better” in comparison to the Seventh reflects his recognition that the compositional skills he called upon dealt almost exclusively with the musical materials themselves as music, rather than the heroic-dramatic musical matrix so well treated in his Seventh, Sixth, Fifth, and Third Symphonies, and as such, would appeal more fully to the musical intellectual than to the average concert-goer, an idea confirmed by the audience and critical reactions. Thus, the work was for Beethoven, at least at the moment of this statement, “much better” as music, and therefore as the art form in which he excelled. Musical analysis partially written by myself. Sources: https://bit.ly/2XrExaC and https://bit.ly/3Al9egp To check the score: https://bit.ly/3Q33H4S