According to Antony Hopkins, the mood of the work betrays nothing of the events that were taking place in Beethoven's life at the time, which involved his interference in his brother Johann's romantic relationships.

"[6] A critic wrote that "the applause it received was not accompanied by that enthusiasm which distinguishes a work which gives universal delight; in short—as the Italians say—it did not create a furor."

[7] George Bernard Shaw, in his capacity as a music critic, agreed with Beethoven's assessment of the work, writing that "In all subtler respects the Eighth is better [than the Seventh].

"[9] Martin Geck has commented on the authenticity of the Eighth, noting that it contains "all the relevant hallmarks, including motivic and thematic writing notable for its advanced planning, defiant counterpoint, furious cross-rhythms, sudden shifts from piano to forte, and idyllic and even hymnlike episodes.

"[10] The symphony is scored for two flutes, two oboes, two clarinets in B♭, two bassoons, two horns in F (in B♭ basso for the second movement), two trumpets in F, timpani, and strings.

Hopkins observed that 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.

[12] There is a widespread belief that this movement is an affectionate parody of the metronome,[citation needed] which had only recently been invented (or more accurately, merely improved) by Beethoven's friend, Johann Maelzel.

[13] The movement begins with even staccato chords in 16th-notes (semiquavers) played by the wind instruments, and a basic 16th-note rhythm continues steadily through the piece.

[citation needed] The minuet is written in ternary form, with a contrasting trio section containing prized solos for horns and clarinet.

[citation needed] Igor Stravinsky praised the "incomparable instrumental thought" shown in Beethoven's orchestration of the trio section.

[16] Hopkins quoted the entire opening theme of the finale "in order to emphasize the outrageous impropriety of the last roaring C-sharp": "All that precedes it is so delicate in texture, so nimble and light-footed.

The loud and startling C♯ from the opening finally gets an "explanation": "and now it appears that Beethoven has held that note in reserve, wherewith to batter at the door of some immensely distant key.