The autograph manuscript bears a dedication to d'Ogny, but Haydn also gave Prince Krafft Ernst von Oettingen-Wallerstein a copy as if it were an original.[3]
The first movement opens with a slow introduction which Haydn works into the opening allegro assai. The Allegro's first theme is derived from an idea Haydn used in his cantata Arianna a Naxos, Hob. XXVIa/2, composed the same year. The theme is chromatic, legato and in two-part inverted counterpoint.[4] The second theme is dancelike. Both the themes are closely linked with the opening largo.
The slow movement consists of a set of three variations on a theme. Listen to the bassoon and the accompanying string filigree in the first variation and the series of trills near the end of the movement.
The minuet includes a trio for the bassoon accompanied by plucked strings.
The finale opens quietly and builds gradually to a close.
Notes
^Brown, A. Peter, The Symphonic Repertoire (Volume 2). Indiana University Press (ISBN025333487X), pp. 232–233 (2002).
^Stapert, Calvin (2014). Playing Before the Lord: Life of Joseph Haydn. Wm. B. Eardmans Publishing. p. 178.
^p. 351, Heartz (2009) Daniel. New York. Mozart, Haydn and Early Beethoven: 1781 — 1802 W. W. Norton & Co.
^Brown, A. Peter, The Symphonic Repertoire (Volume 2). Indiana University Press (ISBN025333487X), pp. 237–239 (2002).
References
Robbins Landon, H. C. (1963) Joseph Haydn: Critical Edition of the Complete Symphonies, Universal Edition, Vienna