Sinfonie à Grand Orchestre composée par Joseph Haydn. Upright folio. Orchestral parts: violin I (6pp), violin II (4 pp), viola (4 pp), bass (4 pp),  oboe I (2 pp) oboe II (2 pp), horn I (2 pp), horn II (2 pp). [per Hoboken: lacks bassoon]. Engraved throughout. [PN] 1375. 26 pp., total. Light toning, overall fine. RISM A/1 H 3076. 

A very rare complete set of parts from one of the last Sturm und Drang symphonies composed by Haydn while in residence at Esterházy. One of a number of minor-key symphonies that Haydn composed in the late 1760s and early 1770s, the symphony was described by H. C. Robbins Landon as "the grandfather of Beethoven's Fifth Symphony, also created with mathematical precision and in extreme conciseness."

"As with Nos. 51 and 64, the dating of No. 52 in C minor is speculative. One feature that suggests it may be slightly later than Haydn's other minor-mode Sturm und Drang symphonies is the emancipation of the bassoon in all four movements. Except for a few bars in the finale of the 'Farewell', all the other works of 1768-72 use the bassoon col basso, tied to the cellos and basses. No. 52's outer movements recall Nos. 44 and 45 in their ferocious drive, though in the opening Allegro con brio there is a skipping major-key second subject for contrast, presented twice but never allowed to develop into a fully rounded melody. This tune takes on a more sober cast in the development and, even more, in the recapitulation, where its final bars are poignantly drawn out before the brutally abrupt close. After a C major Andante of slightly capricious balletic grace, periodically disturbed by laconic outbursts, the minuet echoes the starkness of its predecessor in No. 44. Here, though, the trio turns out to be a smoother, major-key variant of the minuet itself. This overt thematic link between minuet and trio looks ahead to Symphony No. 57 of 1774 and, beyond that, to several of the later string quartets, especially the Op. 50 set." (Richard Wigmore, "The Faber Pocket Guide to Haydn,"  p. 121)