I. Adagio – Allegro II. Andante con moto III. Menuetto – Allegretto IV. Finale – Allegro

The E flat major symphony was composed in the summer of 1788, along with the G minor (K 550) and C major (K 551) symphonies, in a burst of creative activity remarkable even by Mozart's extraordinary standards. We can safely describe it as being among the very best of Mozart's symphonies although the other two in the set have become better known and more popular. We know little about the circumstances of their composition. However, Mozart rarely if ever wrote for the sake of it. A letter has survived addressed to Mozart's well intentioned and generous fellow Freemason, Puchberg, from whom the composer hoped for help in relieving the grim existential circumstances. “I can offer to those who lend to me, sufficient evidence of my character and earnings”, he writes, but then adds for safety “ten days ago, since I have lived here, I have worked more than I did in the last flat for two months.” He also mentions the E flat major symphony as security for repayments on his steadily mounting debts.
Mozart's increasingly unpleasant personal problems are totally absent from this joyous, life affirming symphony (If we can ever point to such things in Mozart's music, then it is the G minor symphony where we had better look closest).
The first movement commences with a truly dramatic slow introduction that leads to the entrancing principal theme in three four time, reminiscent of a noble dance, perhaps a minuet. However, this is an entirely stylised dance, and creates the impression that we are looking on at the swirling crowd from behind a distant vale. The instrumental melodies are virtually vocal in character, and the frequent appearance of the scale-like themes welds the entire movement into a unit.
The pointed rhythms of the slow movement have reminded certain analysts of a “humanist hymn”, which conceivably relates to ideas linked to Freemasonry. Mozart uses clarinets instead of the customary oboes, which possessed a symbolic meaning in his Masonic music. The festive march character is not alien to Mozart's  personality either, and the movement is echoed in Schubert's C major symphony. The passion of the central section perhaps does give us an insight into Mozart's mental state at the time.
The third movement is far less abstract and transfigured, evoking the atmosphere of peasant dancing. The final movements contains a single theme which Mozart treats in a variety of forms, and the symphony ends amid great joy and humour.