Mozart is known to have admired this symphony especially. One of the things he might have liked is the opening theme, which has a marching flavor. This quality is rare in Haydn, but common in Mozart. The opening theme grows bit by bit by gradually adding instruments. The second theme is a greatly contrasting one, with violin triplets and an oboe melody. The development deals with the marching material, and grows dark in character. When it reaches the recapitulation, the theme is, of course, repeated. The shock is that it is now in minor, a sinister effect. Now it is seen that Haydn has been setting up a lovely darkness-to-light contrast, for when the second subject appears in the tonic major key, it is like a sunbeam emerging from clouds.

The second movement is the only part of the symphony where Haydn expressly calls for bassoons, which are asked only to double the bass line. (Otherwise, the symphony is scored for two oboes, two bassoons, and strings.) This leaves open the question as to whether they should be used for the same purpose in the other movements. The theme has an archaic organ music flavor.

The minuet and trio are an example of Haydn at his most intellectual. Both are "al roverso," meaning that the players go through the music twice, then read and play it backwards twice. Haydn's orchestration and rhythm are devised to help the listener remember key gestures in the music and realize the procedure being used. The finale is a dashing piece with echoes of Balkan and Gypsy folk music.

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