Symphony No. 39 (Michael Haydn) 41 in C major (also written in 1788). The last movement is a vigorous fugato, something else this work has in common with Mozart's Symphony No. 41 and Haydn's own Symphony No. 28 in C major which Mozart certainly studied. Unlike the "Jupiter" Symphony, in this symphony the fugal theme is at its first instance accompanied by its usual countersubject: Robbins Landon speculates that Mozart also studied Haydn's No. 39 before writing his No. 41, since he "often requested his father Leopold to send him the latest fugue that Haydn had written." (Robbins Landon, 1967) Whether Mozart knew Haydn's later
Symphony No. 3 (Haydn) later write a similar canon in the minuet of his twenty-third symphony and similar canons would be later be written into G major minuets by Michael Haydn and Mozart. Later still, Haydn himself would develop this technique into the "Canones in Diapason" of the minuet of his Trauer Symphony and the "Witches' Minuet" of his D minor string quartet from Op. 76. The Finale is also contrapuntal. It is a fugue with two subjects that also integrates elements of sonata form. Symphony No. 3 (Haydn) Joseph Haydn's Symphony No. 3 in G major, Hoboken I/3, is believed to have been