Symphony 104 - Movement 1 - Development section - Haydn predicts Beethoven 5th by manipulating the da-da-da-da-DAH-da motif in the entirety of the section (instead of da-da-da-DAH of Beethoven symphony no.5). Probably the greatest development section of all time.
Movement 4 - The bagpipe sounding drone in the intro. The offbeat syncopation towards the end of the theme is amazing.
Hen Symphony - Movement 1 - Effortless transition between dark stormy emotions that nearly leads me to tears of the first subject to the grand celebratory Beethoven-esque modulating bridge and then to slapstick comedy of the Hen second subject. The perfect synthesis of drama and comedy
Symphony No. 6 - Movement 1 - I even rate this movement higher than Beethoven's Pastorale symphony in terms of depicting nature via symphony. The sunrise intro to the birds chirping in the exposition. The development section a brief rain drops down during minor key excursion, the rain dissipates and a rainbow appears (pizzicato strings representing the rain subsiding and the horn appearance representing the rainbow appearing in my imagination). Also Haydn had the horn recapitulate the theme prior to the recapitulation section (cue Ferdinand Ries bursting in the room shouting the horn playing it wrong and Beethoven angrily berateing him)
Trumpet Concerto Movement 3 - Isn't the rondo theme glorious?
Cello Concerto in c major movement 1 - quite possibly the greatest melody ever written in Theme 1 of the exposition
Symphony No. 42 Movement 1 - This symphony is all about tension and euphoric release. The modulating bridge with the crescendo gives a taste of this. However the glorious moment is the second feminine violin subject has a chromatic rise building and building in tension before exploding in radiance when the rest of orchestra joins in.
Symphony No. 100 - Movement 2 - The sudden military drums appearing is amanzing
Symphony No. 44 - Movement 1 - I love the usage of the "queen of the night" motif in the modulating bridge and how the movement becomes celebratory despite a fairly ugly/melodically disjunct opening theme
Symphony No. 96 - Movement 1 - The ending of the first movement makes me crack up laughing all the time. After a mostly upbeat movement throughout the entire piece. In the coda there is a suddenly a minor key explosion and then sudden modulating back to major key. As if Haydn was saying "Oh NO, sudden DRAMATIC TWIST!! and then fakes out and say just kidding! everything's fine
Symphony No. 70 Movement 4 - Awesome final movement fugue
Symphony No. 35 - Movement 1 - I love the second subject
Symphony No. 64 Tempora Mutantur - Movement 1 - The chromatic minor key theme of the second subject is a magnificent contrasting theme
Symphony No. 45 Movement 1 - Lovely example of monothematic sonata form. The opening descending dramatic melody is so great that playing the same melody in a different key gives it greater gravitas
Symphony No. 49 Movement 4 - Fantastic usage of sudden soft to loud dynamic shifts. The quite beginning and then bam is powerful. The frantic energy throughout hte movement is amazing
Symphony No. 82 Movement 4 - Damn Haydn does great drone
Symphony No. 88 - Movement 3 - I love the "Trio" section of the minuet and trio with it's rustic rural charm
Symphony No. 90 - movement 4 - The famous false ending
Symphony No. 60 The Distratto Movement 6 - The famous tuning instrument joke
Symphony No. 1 Movement 1 - The opening mannheim crescendo is amazing. However my personal favourite if Haydn trademark sense of humour of subverting key change expectation was there at the beginning.Haydn pretending to do the classical cliche of the trill and perfect cadence at the end of the first subject but instead of the expected cadence he deceives with a deceptive cadence and he extends the modulating bridge. Then when it seems like Haydn then say "just kidding, here is the real perfect cadence to start the second subject". instead of the expected dominant key that is expected in traditional sonata form structure. It turns out the second subject is in the minor key of the dominant key (instead of the expected A major key, it was A minor second subject)