It is a supreme irony that in the employ of a patron Haydn achieved complete creative freedom, but perhaps not so surprising considering that patron was the enlightened Count Esterházy. So it was that early on the composer was eagerly and confidently exploring various avenues within the symphonic field. Sometimes the external language was familiar enough but the process or form could be revelatory. No. 17 reflects an exploration by the composer of variations in procedure. Like so many of its siblings it is difficult to pinpoint an exact date of composition; stylistically it would seem safe to assign it to the Esterházy period, hence its appended numeration. But although in three movements it is of longer duration than many in four due to some very innovative handling of sonata form.

The first movement opens in typically spry and cheery Haydnesque triple time, the main theme distinguished by trills and turns, the second theme an ascending sequence which hints at grandiloquence (but only briefly). It is the development section which is striking: in addition to exceeding the exposition in length, it plays a game of tag by fleeing the tonic at the expected moment of return and entering a second extended development. While not as innovative, the following andante, in minor and somewhat brooding in nature, is greatly expanded as well and bordering on being adagio. The brief, perky binary-form finale in 3/8 time, although quite "by the book," provides a sherbet-like dessert to the two richer entrees which have preceded it.

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