The Haydn Symphony known as No. 72 is actually misplaced in the standard numbering system for the composer's works, having actually been composed much earlier than its number would indicate. The Symphony is one of the earliest to incorporate four horns into the orchestra; the result is a work which fuses the refined logic of symphonic form with the flash and dazzle of virtuoso horn writing.

This juxtaposition is most noticeable in the opening Allegro. Throughout the movement the principal thematic ideas are forced to share the stage with the pyrotecnical displays of the horn section, which seems eager and willing to interrupt the rest of the ensemble whenever it feels it has something new to show off. The resulting dialogue between the two forces is both impressive and humorous.

Haydn, always sensitive to the practical needs of performers, allows the horns to rest during the Andante, which is something of a miniature concerto for solo violin and flute. The Menuet and its Trio are both full of horn echo effects (horns III and IV imitate horns I and II). The Trio is further notable for the complete exclusion of the string section. Haydn departs from the tradition of a fast-paced finale, instead concluding this innovative symphony with a delightful Andante theme and variations. Flute, cello, violin, and, remarkably for the time, double bass are all used as solo instruments in the variations, while the previously important horn section plays no special role. Unpredictable as always, however, Haydn introduces a wild Presto (unrelated to the music of the theme and variations) at the end of the movement, allowing the Symphony to end with a welcome display of horn virtuosity.

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