922:
816:
887:
645:
751:
652:
513:
389:
44:
735:
231:
1674:
407:
531:
670:
769:
195:
why the Eighth was less popular than the
Seventh, Beethoven is said to have replied, "because the Eighth is so much better." 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
840:
cites the abrupt intrusion of the C-sharp as an example of
Beethoven's "long-distance harmonic effects". This "rogue" note is eventually revealed as having an architectural function in the structure of the movement as a whole. The opening material reappears three times: at the start of the
184:, Vienna, at which the Seventh Symphony (which had been premiered two months earlier) was also played. Beethoven was growing increasingly deaf at the time, but nevertheless insisted on leading the premiere. Reportedly, "the orchestra largely ignored his ungainly gestures and followed the
896:
931:
825:
144:
The Eighth
Symphony is generally light-hearted, though not lightweight, and in many places 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
405:
529:
897:
668:
767:
932:
826:
398:
868:
The coda is one of the most elaborate in all of
Beethoven's works. Hopkins called it "magnificent" and suggests it is too substantial to be referred to by the term "coda". It contains two particularly striking events. The loud and startling
406:
208:
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
530:
522:
669:
563:
162, said to have been improvised at a dinner party in
Maelzel's honor in 1812. However, there is no evidence corroborating this story and it is likely that WoO 162 was not written by Beethoven but was constructed after-the-fact by
661:
768:
760:
875:
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. Out bursts the theme then, in
895:
723:, with a contrasting trio section containing prized solos for horns and clarinet. The clarinet solo is of significant importance in that it was the first major example of a solo clarinet playing a written G
930:
824:
479:, i.e. extremely loud), which rarely appears in Beethoven's works, but has precedents in the Sixth and Seventh symphonies. This is balanced by the quiet closing measures of the movement.
716: ) on each of the next five beats. This makes the minuet stylistically close to the other movements of the symphony, which likewise rely often on good-humored, thumping accents.
898:
200:, 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 ." More recently,
933:
827:
1063:
173:, 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
1523:
1161:
501:
According to Dutch musicologist Cees
Nieuwenhuizen, Beethoven may have originally envisioned this movement as a piano concerto first movement.
1476:
694:
is not particularly close to its 18th-century predecessors, as it retains a rather coarse, thumping rhythm; such as how after the initial
1694:
248:
453:. Hopkins observed that the movement is slightly unusual among Beethoven's works in that it reaches its dramatic climax not during the
177:'s romantic relationships. The work took Beethoven only four months to complete, and is, unlike many of his works, without dedication.
1480:
853:. As in the first movement, the move to the second subject first adopts the "wrong" key, then moves to the normal key (exposition:
612:
has called "slow movement sonata form"; that is, at the end of the exposition there is no development section, but only a simple
591:
has argued that the third movement was intended as the slow movement of this symphony and that the second should be played as a
1187:
1137:
1489:
1400:
1651:
1516:
1460:
1434:
1251:
704:
270:
1704:
1080:
291:
146:
252:
1509:
1226:
174:
559:. Specifically the belief was that the movement was based on a canon called "Ta ta ta... Lieber Maelzel,"
921:
886:
815:
731:
praised the "incomparable instrumental thought" shown in
Beethoven's orchestration of the trio section.
644:
498:. At the onset of the recapitulation, the theme is made more emphatic by omitting the middle four bars.
49:
1699:
1664:
1638:
1617:
1607:
1602:
1591:
1575:
1570:
1554:
1373:
1067:
986:, pp. 224, 232, 233–234, 236–237 are: 1st mvt. bars 36–37 (bassoon mimicry), the "breaking of the
802:
166:
150:
138:
555:, which had only recently been invented (or more accurately, merely improved) by Beethoven's friend,
1485:
587:
played by the wind instruments, and a basic 16th-note rhythm continues steadily through the piece.
573:
154:
137:
in 1812. Beethoven fondly referred to it as "my little
Symphony in F", distinguishing it from his
241:
963:
1678:
846:
695:
458:
204:
has described the Eighth as "a beautiful, brief, ironic look backward to Haydn and Mozart."
1538:
1286:, p. 234 Hopkins remarked that the music is "marked allegro vivace but usually played
134:
35:
8:
1108:
842:
454:
197:
1155:
1010:
908:
613:
196:
did not create a furor." According to Czerny, Beethoven was angered by this reception.
1501:
1456:
1430:
1247:
1193:
1183:
1143:
1133:
790:
634:
320:
1495:
1287:
1227:"Beethoven 8th Symphony arranged for piano and orchestra | Cees Nieuwenhuizen"
1092:
854:
699:
490:
445:
time. As with most of
Beethoven's first movements of this period, it is written in
287:
165:
The work was begun in the summer of 1812, immediately after the completion of the
1263:
728:
565:
551:
There is a widespread belief that this movement is an affectionate parody of the
284:
1449:
946:
called this movement "One of the greatest symphonic masterpieces of Beethoven."
809:"in order to emphasize the outrageous impropriety of the last roaring C-sharp":
1422:
806:
588:
584:
556:
371:
181:
170:
1083:. "The Symphony: a listeners guide". pp. 44–47. Oxford University Press, 1995.
836:"All that precedes it is so delicate in texture, so nimble and light-footed."
1688:
1444:
1197:
1147:
877:
858:
797:= 84. This is the first symphonic movement in which the timpani are tuned in
630:
609:
484:
475:
185:
43:
734:
1368:
1327:
1267:
1125:
850:
837:
720:
569:
482:
The opening theme is in three sections of four bars each, with the pattern
450:
308:
201:
793:
with a fast tempo. The metronome marking supplied by Beethoven himself is
1175:
943:
862:
605:
446:
353:
205:
192:
130:
58:
1182:. Translated by Spencer, Stewart. Chicago: University of Chicago Press.
1041:
794:
781:
682:
543:
422:
304:
301:
255: in this section. Unsourced material may be challenged and removed.
637:. This motif is played by the whole orchestra at the end of the coda.
987:
552:
462:
230:
1532:
912:
623:
580:
339:
942:
The symphony ends with a very long passage of loud tonic harmony.
801:, foreshadowing the similar octave-F tuning in the scherzo of the
157:
tradition in making the last movement the weightiest of the four.
592:
367:
363:
349:
295:
180:
The premiere took place on 27 February 1814, at a concert in the
126:
82:
789:
The most substantial movement in the symphony, the finale is in
1009:
time, and the hesitancy in the last movement about whether the
991:
798:
691:
568:. A more likely inspiration was the similar rhythmic parody of
1377:. Vol. 1 Symphonies. Oxford University Press. p. 67.
331:
430:
This movement is in the home key of F major and is in fast
335:
990:" passage at end of the second movement, the shift of the
413:
All movements performed by the Bucharest College Orchestra
968:
560:
1180:
Beethoven's Symphonies: Nine Approaches to Art and Ideas
915:, arriving instantaneously at the home key of F major.
169:. At the time Beethoven was 41 years old. According to
1531:
1381:
1308:
622:
for the recapitulation; this also may be described as
160:
1662:
461:. The concluding bars of the development form a huge
1298:
1296:
1209:
1207:
1448:
52:in 1815, a year after the premiere of the symphony
1293:
1204:
805:. Hopkins quoted the entire opening theme of the
1686:
1401:"The Eighth Symphony Concert. The Italian Opera"
964:"Beethoven's Symphony No. 8 in F major, Op. 93"
133:93 is a symphony in four movements composed by
1023:
1021:
1019:
1517:
1113:The Great Composers: Reviews and Bombardments
1039:
465:and the return of the opening bars is marked
1115:. p. 107. California University Press, 1978.
377:It is approximately 26 minutes in duration.
1130:Beethoven: Anguish and Triumph: A Biography
1016:
217:, and idyllic and even hymnlike episodes."
1524:
1510:
1238:
1236:
1160:: CS1 maint: location missing publisher (
1064:"Welcome to Carnegie Hall (program notes)"
911:in which this key is "hammered down" by a
907:A few measures later, there is a stunning
42:
1481:International Music Score Library Project
271:Learn how and when to remove this message
1124:
733:
1421:
1387:
1355:
1314:
1302:
1283:
1233:
1213:
1027:
983:
1687:
1455:(revised ed.). New York: Norton.
1334:. Oxford University Press. p. 52.
1246:(Volume 2). Indiana University Press (
1505:
1443:
1367:
1344:
1326:
1066:. Carnegie Hall. 2006. Archived from
16:1812 musical composition by Beethoven
1490:William and Gayle Cook Music Library
1174:
253:adding citations to reliable sources
224:
608:of F, and the organization is what
161:Composition, premiere and reception
13:
1695:Symphonies by Ludwig van Beethoven
749:
742:
650:
511:
504:
387:
362:basso for the second movement), 2
14:
1716:
1470:
1042:"Symphony No.8 in F major, op.93"
640:
457:section, but at the onset of the
449:, including a fairly substantial
380:
1672:
1427:The Nine Symphonies of Beethoven
928:
893:
849:, and about halfway through the
822:
780:Problems playing this file? See
765:
681:Problems playing this file? See
666:
542:Problems playing this file? See
527:
421:Problems playing this file? See
403:
229:
1393:
1361:
1349:
1338:
1320:
1277:
1257:
1219:
1168:
240:needs additional citations for
1118:
1102:
1099:. p. 214. Schirmer Books, 1977
1086:
1074:
1056:
1033:
976:
956:
738:3rd movement (trio) bars 45–52
629:The second subject includes a
579:The movement begins with even
1:
1415:
330:The symphony is scored for 2
153:, the symphony deviates from
399:I: Allegro vivace e con brio
48:Portrait of the composer by
7:
141:, a longer work also in F.
10:
1721:
1374:Essays in Musical Analysis
1272:Stravinsky in Conversation
845:section, the start of the
95:27 February 1814
1631:
1563:
1547:
1498:, all-about-beethoven.com
719:The minuet is written in
690:The style of Beethoven's
523:II: Allegretto scherzando
111:
90:
67:
57:
41:
33:
28:
23:
1405:tchaikovsky-research.net
1244:The Symphonic Repertoire
1013:will be repeated or not.
982:Some instances given by
949:
585:16th-notes (semiquavers)
326:Allegro vivace (F major)
191:When asked by his pupil
50:Joseph Willibrord Mähler
1705:Compositions in F major
1132:. Boston. p. 624.
220:
1274:, London, Faber, 1959.
1040:Rodney Corkin (2010).
754:
739:
662:III: Tempo di menuetto
655:
516:
392:
1070:on 29 September 2007.
753:
737:
698:Beethoven places the
654:
515:
391:
147:Opus 27 piano sonatas
1539:Ludwig van Beethoven
1492:, Indiana University
1109:Shaw, George Bernard
249:improve this article
135:Ludwig van Beethoven
36:Ludwig van Beethoven
1044:. lvbeethoven.co.uk
198:George Bernard Shaw
186:principal violinist
24:Symphony in F major
1652:No. 10 in E♭ major
1254:), pp. 517 (2002).
1081:Steinberg, Michael
857:, recapitulation:
761:IV: Allegro vivace
755:
740:
656:
635:sixty-fourth notes
517:
393:
175:his brother Johann
1700:1812 compositions
1660:
1659:
1654:
1564:Middle symphonies
1429:. Pan Macmillan.
1242:Brown, A. Peter,
1189:978-0-226-45388-0
1139:978-0-618-05474-9
940:
939:
934:
905:
904:
899:
834:
833:
828:
791:sonata rondo form
770:
671:
532:
408:
321:Tempo di menuetto
281:
280:
273:
119:
118:
1712:
1677:
1676:
1675:
1668:
1649:
1639:No. 9 in D minor
1623:No. 8 in F major
1618:No. 7 in A major
1608:No. 6 in F major
1603:No. 5 in C minor
1597:
1596:
1581:
1580:
1571:No. 2 in D major
1555:No. 1 in C major
1548:Early symphonies
1542:
1541:
1526:
1519:
1512:
1503:
1502:
1479:: Scores at the
1466:
1454:
1440:
1409:
1408:
1397:
1391:
1385:
1379:
1378:
1365:
1359:
1353:
1347:
1342:
1336:
1335:
1324:
1318:
1312:
1306:
1300:
1291:
1281:
1275:
1261:
1255:
1240:
1231:
1230:
1223:
1217:
1211:
1202:
1201:
1172:
1166:
1165:
1159:
1151:
1122:
1116:
1106:
1100:
1093:Solomon, Maynard
1090:
1084:
1078:
1072:
1071:
1060:
1054:
1053:
1051:
1049:
1037:
1031:
1025:
1014:
1008:
1007:
1006:
1005:
980:
974:
973:
960:
936:
935:
918:
917:
901:
900:
883:
882:
874:
873:
830:
829:
812:
811:
772:
771:
752:
715:
673:
672:
653:
621:
620:
603:
602:
574:"Clock" Symphony
534:
533:
514:
472:
444:
443:
442:
441:
410:
409:
390:
361:
360:
347:
346:
314:
313:
276:
269:
265:
262:
256:
233:
225:
167:Seventh Symphony
107:
106:
102:
100:
86:
85:
79:
77:
46:
21:
20:
1720:
1719:
1715:
1714:
1713:
1711:
1710:
1709:
1685:
1684:
1683:
1679:Classical music
1673:
1671:
1663:
1661:
1656:
1632:Late symphonies
1627:
1594:
1593:
1578:
1577:
1559:
1543:
1537:
1536:
1530:
1473:
1463:
1437:
1423:Hopkins, Antony
1418:
1413:
1412:
1399:
1398:
1394:
1386:
1382:
1366:
1362:
1354:
1350:
1343:
1339:
1325:
1321:
1313:
1309:
1301:
1294:
1282:
1278:
1262:
1258:
1241:
1234:
1225:
1224:
1220:
1212:
1205:
1190:
1173:
1169:
1153:
1152:
1140:
1123:
1119:
1107:
1103:
1091:
1087:
1079:
1075:
1062:
1061:
1057:
1047:
1045:
1038:
1034:
1026:
1017:
1004:
999:
998:
997:
996:
995:
981:
977:
962:
961:
957:
952:
929:
923:
894:
888:
871:
870:
823:
817:
787:
786:
778:
776:
775:
774:
773:
766:
763:
756:
750:
745:
743:Fourth movement
729:Igor Stravinsky
726:
709:
688:
687:
679:
677:
676:
675:
674:
667:
664:
657:
651:
646:
643:
618:
617:
600:
599:
566:Anton Schindler
549:
548:
540:
538:
537:
536:
535:
528:
525:
518:
512:
507:
505:Second movement
466:
440:
435:
434:
433:
432:
431:
428:
427:
419:
417:
416:
415:
414:
411:
404:
401:
394:
388:
383:
358:
357:
344:
343:
311:
310:
277:
266:
260:
257:
246:
234:
223:
163:
104:
98:
96:
94:
81:
75:
73:
71:
53:
17:
12:
11:
5:
1718:
1708:
1707:
1702:
1697:
1682:
1681:
1658:
1657:
1650:Hypothetical:
1647:
1646:
1635:
1633:
1629:
1628:
1626:
1625:
1620:
1615:
1605:
1600:
1589:
1573:
1567:
1565:
1561:
1560:
1558:
1557:
1551:
1549:
1545:
1544:
1529:
1528:
1521:
1514:
1506:
1500:
1499:
1493:
1483:
1477:Symphony No. 8
1472:
1471:External links
1469:
1468:
1467:
1461:
1445:Rosen, Charles
1441:
1435:
1417:
1414:
1411:
1410:
1392:
1390:, p. 240.
1380:
1360:
1348:
1337:
1319:
1317:, p. 235.
1307:
1292:
1276:
1264:Stravinsky, I.
1256:
1232:
1218:
1203:
1188:
1167:
1138:
1117:
1101:
1085:
1073:
1055:
1032:
1015:
1000:
975:
954:
953:
951:
948:
938:
937:
925:
924:
903:
902:
890:
889:
861:) after a few
847:recapitulation
832:
831:
819:
818:
803:Ninth Symphony
777:
764:
759:
758:
757:
748:
747:
746:
744:
741:
724:
678:
665:
660:
659:
658:
649:
648:
647:
642:
641:Third movement
639:
633:of very rapid
589:Richard Wagner
557:Johann Maelzel
539:
526:
521:
520:
519:
510:
509:
508:
506:
503:
459:recapitulation
436:
418:
412:
402:
397:
396:
395:
386:
385:
384:
382:
381:First movement
379:
328:
327:
324:
318:
299:
279:
278:
237:
235:
228:
222:
219:
171:Antony Hopkins
162:
159:
151:Ninth Symphony
149:and the later
139:Sixth Symphony
123:Symphony No. 8
117:
116:
113:
109:
108:
92:
88:
87:
69:
65:
64:
61:
55:
54:
47:
39:
38:
31:
30:
26:
25:
15:
9:
6:
4:
3:
2:
1717:
1706:
1703:
1701:
1698:
1696:
1693:
1692:
1690:
1680:
1670:
1669:
1666:
1655:
1653:
1644:
1640:
1637:
1636:
1634:
1630:
1624:
1621:
1619:
1616:
1613:
1609:
1606:
1604:
1601:
1599:
1590:
1587:
1583:
1574:
1572:
1569:
1568:
1566:
1562:
1556:
1553:
1552:
1550:
1546:
1540:
1534:
1527:
1522:
1520:
1515:
1513:
1508:
1507:
1504:
1497:
1494:
1491:
1487:
1484:
1482:
1478:
1475:
1474:
1464:
1462:0-393-30219-9
1458:
1453:
1452:
1446:
1442:
1438:
1436:0-330-26670-5
1432:
1428:
1424:
1420:
1419:
1406:
1402:
1396:
1389:
1384:
1376:
1375:
1370:
1364:
1358:, p. 238
1357:
1352:
1346:
1341:
1333:
1329:
1323:
1316:
1311:
1305:, p. 236
1304:
1299:
1297:
1289:
1285:
1280:
1273:
1269:
1265:
1260:
1253:
1252:0-253-33487-X
1249:
1245:
1239:
1237:
1228:
1222:
1216:, p. 222
1215:
1210:
1208:
1199:
1195:
1191:
1185:
1181:
1177:
1171:
1163:
1157:
1149:
1145:
1141:
1135:
1131:
1127:
1126:Swafford, Jan
1121:
1114:
1110:
1105:
1098:
1094:
1089:
1082:
1077:
1069:
1065:
1059:
1043:
1036:
1030:, p. 221
1029:
1024:
1022:
1020:
1012:
1003:
993:
989:
985:
979:
971:
970:
965:
959:
955:
947:
945:
927:
926:
920:
919:
916:
914:
910:
892:
891:
885:
884:
881:
879:
878:F sharp minor
866:
864:
860:
856:
852:
848:
844:
839:
821:
820:
814:
813:
810:
808:
804:
800:
796:
792:
785:
783:
762:
736:
732:
730:
722:
717:
714:
713:
707:
706:
701:
697:
693:
686:
684:
663:
638:
636:
632:
627:
625:
615:
611:
610:Charles Rosen
607:
596:
594:
590:
586:
582:
577:
575:
571:
567:
562:
558:
554:
547:
545:
524:
502:
499:
497:
493:
492:
487:
486:
480:
478:
477:
476:fortississimo
471:
470:
464:
460:
456:
452:
448:
439:
426:
424:
400:
378:
375:
373:
369:
365:
355:
351:
341:
337:
333:
325:
322:
319:
316:
306:
303:
300:
297:
293:
289:
286:
283:
282:
275:
272:
264:
254:
250:
244:
243:
238:This section
236:
232:
227:
226:
218:
216:
212:
207:
203:
199:
194:
189:
187:
183:
178:
176:
172:
168:
158:
156:
152:
148:
142:
140:
136:
132:
128:
124:
114:
110:
93:
89:
84:
70:
66:
62:
60:
56:
51:
45:
40:
37:
32:
27:
22:
19:
1648:
1642:
1622:
1611:
1585:
1451:Sonata Forms
1450:
1426:
1404:
1395:
1388:Hopkins 1981
1383:
1372:
1369:Tovey, D. F.
1363:
1356:Hopkins 1981
1351:
1340:
1331:
1328:Tovey, D. F.
1322:
1315:Hopkins 1981
1310:
1303:Hopkins 1981
1284:Hopkins 1981
1279:
1271:
1259:
1243:
1221:
1214:Hopkins 1981
1179:
1176:Geck, Martin
1170:
1129:
1120:
1112:
1104:
1096:
1088:
1076:
1068:the original
1058:
1046:. Retrieved
1035:
1028:Hopkins 1981
1001:
984:Hopkins 1981
978:
967:
958:
941:
906:
867:
838:Donald Tovey
835:
788:
779:
721:ternary form
718:
711:
710:
703:
689:
680:
628:
598:The key is B
597:
578:
570:Joseph Haydn
550:
541:
500:
495:
489:
483:
481:
474:
468:
467:
437:
429:
420:
376:
329:
267:
258:
247:Please help
242:verification
239:
214:
210:
202:Jan Swafford
190:
182:Redoutensaal
179:
164:
143:
122:
120:
18:
1048:26 November
944:Tchaikovsky
843:development
702:indication
606:subdominant
604:major, the
455:development
447:sonata form
261:August 2020
206:Martin Geck
193:Carl Czerny
1689:Categories
1592:No. 4 in B
1576:No. 3 in E
1533:Symphonies
1416:References
1345:Rosen 1988
1011:exposition
909:modulation
795:whole note
782:media help
683:media help
614:modulation
583:chords in
544:media help
423:media help
356:in F (in B
305:scherzando
302:Allegretto
188:instead."
99:1814-02-27
1332:Beethoven
1268:Craft, R.
1198:958779834
1156:cite book
1148:881386554
1097:Beethoven
988:metronome
705:sforzando
616:back to B
553:metronome
463:crescendo
340:clarinets
323:(F major)
155:Classical
112:Movements
91:Performed
1612:Pastoral
1595:♭
1579:♭
1496:Analysis
1447:(1988).
1425:(1981).
1371:(1935).
1330:(1944).
1178:(2017).
1128:(2014).
913:semitone
872:♯
863:measures
855:dominant
624:sonatina
619:♭
601:♭
581:staccato
364:trumpets
359:♭
350:bassoons
345:♭
312:♭
68:Composed
799:octaves
700:dynamic
593:scherzo
372:strings
368:timpani
296:F major
285:Allegro
127:F major
97: (
83:Teplice
74: (
1665:Portal
1643:Choral
1586:Eroica
1459:
1433:
1288:presto
1250:
1196:
1186:
1146:
1136:
992:minuet
807:finale
696:upbeat
692:minuet
626:form.
370:, and
366:in F,
332:flutes
290:e con
288:vivace
105:Vienna
1598:major
1582:major
1486:Score
994:into
950:Notes
859:tonic
631:motif
496:forte
491:piano
485:forte
354:horns
336:oboes
315:major
215:forte
211:piano
29:No. 8
1457:ISBN
1431:ISBN
1266:and
1248:ISBN
1194:OCLC
1184:ISBN
1162:link
1144:OCLC
1134:ISBN
1050:2013
851:coda
451:coda
352:, 2
348:, 2
342:in B
338:, 2
334:, 2
292:brio
221:Form
121:The
115:Four
76:1812
72:1812
59:Opus
1535:by
969:NPR
880:."
572:'s
561:WoO
469:fff
251:by
213:to
131:Op.
125:in
34:by
1691::
1488:,
1403:.
1295:^
1290:".
1270:,
1235:^
1206:^
1192:.
1158:}}
1154:{{
1142:.
1111:.
1095:.
1018:^
966:.
865:.
727:.
712:sf
595:.
576:.
374:.
129:,
103::
80::
63:93
1667::
1645:)
1641:(
1614:)
1610:(
1588:)
1584:(
1525:e
1518:t
1511:v
1465:.
1439:.
1407:.
1229:.
1200:.
1164:)
1150:.
1052:.
1002:4
972:.
869:C
784:.
725:6
708:(
685:.
546:.
494:–
488:–
473:(
438:4
425:.
317:)
309:B
307:(
298:)
294:(
274:)
268:(
263:)
259:(
245:.
101:)
78:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
