There is some uncertainty as to the date of Haydn's Symphony No. 15. The fact that it contains some most striking innovations would suggest that at the very least it came from the some point in the Esterházy period, probably early on. The ease and assurance with which Haydn composed would seem to be resultant of the security and encouragement which the composer received from Count Nikolaus.

By any standard, even beyond that of the composer's 100-plus symphonies, the opening movement is unique. Structured "adagio-presto-adagio," the opening slow section is totally self-sufficient and rounded off, standing apart from the succeeding remainder of the movement (arguably the most famous example of this structural device is the "great theme" from Tchaikovsky's B flat minor concerto). The presto which follows (after a brief transitional passage) is highly animated and contrapuntal, so much so that it is hard to distinguish any specific theme or motive. The closing adagio is virtually a serenade, the lower strings providing a plucked guitar-like accompaniment as the horns add a languid countermelody to the main. Admittedly, this most unusual movement is a very hard act to follow, so perhaps this is why the minuet jumps ahead of its traditional post to come second in order; this movement eschews both the lead-footed country dance and the more refined gallant style in favor of a skipping frolicking gait, punctuated by a languid trio. This extends to a lazy playfulness, almost kitten-like, in the andante which follows, no hint of reverie here. The brief finale returns to the spirit of the first movement's presto with a mercurial minor-key central section. While not on the same level of innovation as the opening movement, it is nonetheless a cheery and well-crafted conclusion, befitting the classical finale ideal.

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