Throughout the course of his career, Franz Joseph Haydn allowed elements of many different musical forms and styles to influence his symphonic output. He found ways to effectively combine Italian opera with symphonic form; he successfully fused the symphony and the concerto into a single form (see, for instance, the famous Sinfonia Concertante in B flat major, HobI/105).

In the Symphony No. 30, Haydn ventures into the realm of liturgical music, specifically chant, to bring new life to the symphonic form. Haydn incorporates the Easter "Alleluia" chant into the first movement, wittily concealing it in the midst of the texture; Haydn's "borrowing" has led some scholars to speculate that the work was first performed as part of Easter festivities. In any event, the "Alleluia" becomes an integral element of the movement: the second theme is really just an altered version of this melody, while upon its return in the recapitulation it dominates the texture as the main thematic element.

The flute, omitted from the first movement, is allowed to join the orchestra in the tender Andante; the movement is characterized by a trim melodic sense and a lean harmonic accompaniment.

Minuet and finale are combined in the Symphony's concluding movement, which is remarkable both for the omission of several expected da capo sections and the sophistication of its orchestration.

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