Movement 1: Allegro moderato
Movement 2: Andante cantabile
Movement 3: Menuetto – Trio
Movement 4: Finale: Vivace
After a lilting theme-and-variations Andante in E flat that includes an expressive cello solo and a free minore episode, the minuet again juxtaposes C minor and major. The main section is by turns edgy and aggressive, while the untroubled C major trio features another, more extended, solo for cello. With the many solo passages, here and elsewhere in the first six London symphonies, Haydn endeared himself both to his audience and his orchestral principals. The sonata-rondo finale begins with a broad, serene C major melody, which Haydn then proceeds to work in an intricate display of counterpoint. With its polyphonic virtuosity and pealing C major splendour (darkened fleetingly by a stormy C minor outburst), the movement has provoked inevitable comparisons with Mozart’s ‘Jupiter’ Symphony. Haydn may even have consciously modelled his far terser finale on Mozart’s.
from notes by Richard Wigmore © 2009