The first movement begins with a slow introduction (he does this in only two other symphonies, No. 36 ("Linz") and No. 39). The introduction gives way to the main portion of the movement, in which six melodies are developed and recapitulated in a very contrapuntal example of sonata-allegro form. Certain phrases in the first movement bear a resemblance to the overture to Die Zauberflöte. Moreover, the first movement is composed in a similar form to that of the overture: Adagio–Allegro. The allegro proper is written in the style of a fugue[dubious – discuss] with the musical material of the climax being similar to that of the climax of the fugue in the overture to Die Zauberflöte. Furthermore, certain musical material from the beginning of the first movement were quoted by Rossini in his overture to The Barber of Seville. This overture, too, is similar in form to that of the first movement of this symphony, a slow introduction with a loud pronouncement of the tonic followed by a quiet or piano section in which tension is built then resolved in forte. Musical material found throughout the first minor section of the first movement is similar to that of the overture to Mozart's Don Giovanni. Furthermore, the orchestral effects during this section are similar: winds and timpani announcing the chord with strings playing an even rhythmed harmony with the chord.