served Mozart more often than any other key, even C, for his symphonies," including the Paris (No. 31) and Prague (No. 38) symphonies. Movements The symphony is in four movements: Allegro con spirito, Andante, Menuetto, Presto, I. Allegro con spirito When communicating with his father Leopold, Mozart stated that this movement was to be played with fire. The movement is in sonata form with a short development section. The exposition begins with a fake slow-introduction with all instruments in unison, until the rhythm of the 4th bar reveals the quick tempo of the movement. The second subject is similar in melodic material and rhythm to the first subject, recalling the monothematic sonata movements of Haydn (e.g. Symphony No. 104). Mozart places no repeat signs at the end of the exposition. This goes against the standard sonata form convention of the day, but is something that he also does in the three big symphonies which precede the Haffner (Nos. 31, 33 and 34). The development begins by hinting at D minor (bars 95–104), before settling on the key of F minor (bars 105–118). A string of consecutive dominant sevenths (bars 110–119) then returns the music to D major to begin the recapitulation. The recapitulation is similar to the exposition with the exception of expected differences in the transition passage. II. Andante The G major second movement provides a welcome relief with its slow, graceful melodies announced by the woodwind section. The movement is in an abridged sonata form. Instead of a development, a brief chorale-like passage is presented by the woodwinds. The rhythmic structures of the first subject theme and the second subject theme provide a subtle, but excellent contrast to each other. Whilst both themes are quite similar in character, the first subject theme has a slow-moving accompaniment based upon sixteenth notes, whereas the second subject theme has a busier accompaniment of thirty-second notes. The brief, chorale-like passage which replaces the development is clearly punctuated by the use of syncopated accompaniment by the violins and violas. This movement has been summarized by some as being delicate and elaborate, but definitely relaxing. III. Menuetto The D major minuet provides a bright change of atmosphere from the previous slow, serious "Andante" movement. One may notice when listening to this movement the constant tug between two main chords – the tonic and dominant keys. Only three times do we see chords other than