Like its well-known predecessor "La Chasse," Haydn's Symphony No. 74 finds its creator thoroughly at ease and on top of his game. One is left with the impression that the friction which occurred over Prince Esterházy's distaste for the "Sturm und Drang" idiom was unnecessary, for it seems that the composer felt "shackled" by fashion when in that vein and probably shared his otherwise supportive patron's view at least to a degree. No. 74 is a symphony delightfully quirky at times, the true originality emerging from the composer being true to himself, personality mingling with creativity.

On paper the opening of 74 resembles the "Eroica" with the forte E flat triads following by a legato pianissimo theme but aurally it is quite different. The sonata movement's most distinctive touches are the ruminating second subject which can't seem to settle upon a key major or minor (as though to ponder "what shall I wear?") and some remarkable harmonic growth in the development. The andante cantabile which follows features a curiously gaited cello accompaniment to the singing main theme. The final two movements are less innovative but agreeable. The minuet belongs to neither lead-footed peasantry nor courtly elite, but dance-like and elegant. The 6/8 finale is perhaps less inspired than others by its creator. The strings are so predominant that one feels that here the winds are little more than coloring. All in all, it reverts to the earlier, less protean concept of a concluding movement.

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