Although not totally free of the labyrinthine snares of the numbering system of Haydn's symphonies, No. 3 is at least fixable to a pre-Esterházy date. Its acquisition by the Gottweig monastery is dated 1762. The work most likely hails from the period of Haydn's employ at the court of Count Morzin of Bohemia.

No. 3 is often cited as among the most visionary of Haydn's early symphonies. It is one of the earliest examples of a four-movement work in the genre. Highly suffused with counterpoint throughout, it has been indicated by Robbins Landon that the work's modernity derives from its looking back to the pre-homophonic era. The wide leaps and animated counterpoint of the robust opening movement, sans introduction, is enhanced by a horn figure which is also premonitory of No. 31 (the "Hornsignal"). Intriguing syncopation later enhances the countermelody in the recapitulation. Lean, transparent counterpoint is the material on which the sonata-form slow movement is built; residing in the tonic minor it possesses a gray reverie which manages to sidestep brooding, a subtly magical movement for strings only. Canon is the basis of the minuet, more in the gallant style than on Haydn's bucolic turf; delightful interaction with the winds permeates the trio. But the crown of the work is the finale. Ironically, though but two minutes long in average performance time, immensity is hinted at by its glorious contrapuntal tour de force. Spiritually, it approaches the finale of Mozart's last symphony, its processes and thematic material prophetic of the Jupiter.

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