It is reasonably certain that Haydn's Symphony No. 36 is from the early Esterházy patronage period, making its numeration chronologically consistent. Although it displays little of the characteristic mode of musical speech of its creator, the composer's characteristic inventiveness is in evidence, poised to flourish throughout the happy period of Haydn's employ with his appreciative patron.

Commencing without introduction in typical triple meter, the opening Vivace offers an unusual extended development with a false transition, presumably intended to lead to the recapitulation but detouring back to further development. Haydn had in fact used the same device previously in Symphony No. 17. The adagio is an easy canter with no hint of brooding, essentially a concertante duet for violin and cello. The central section betrays a slight hint of reverie, but this is otherwise an emotionally uncluttered movement. The minuet fits into neither the strictly galant nor the bucolic category but has a unique sprightly, capering quality owing to the skillful juxtaposition of dotted rhythm and grace notes in its main theme; the trio however explores some surprising chromatic territory which, however brief, seems to totter on a mysterious border before drawing back to sunnier turf. The finale is an early example of the typical late Classical concluding movement in energetic 2/4 time, featuring the celebrated "Mannheim rocket" in the main theme and a second subject laden with bustling tremolo that in its manner of use somewhat premonitory of some of Mozart's orchestral writing.

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