After the tantalizing premonition of the later Haydn viewed in No. 3, Symphony No. 4 in D represents something of a cooling of heels. The composer returned to the standard three-movement format and conventional processes. And yet, as almost always, the end result is typical of Haydn in its vigor and conviviality. It is among the last works of the composer's Lukavec period.

The opening sonata movement features a main theme said to be derived from a Serbian air (it is worth noting that Haydn was of Croatian descent) but is otherwise somewhat predictable. However, the second movement, andante, features an unusual syncopated main theme played by divided violins. The finale is in the tempo of a minuet and is cast in a tenuous sonata form. There is no trio. This movement would be totally undistinguished were it not for the quirkiness of the basses, adding some jaunt and piquancy to the overall process.

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