By the early 1780s, after nearly two decades in the service of Prince Nikolaus Esterházy, Haydn had already achieved a Europe-wide reputation as a composer. At that time, there was no binding copyright law, so publishers were free to release musical works without legal obstacles. Haydn handled the publication of his works carefully and collaborated with various publishers. Thus, some of his symphonies, including numbers 76, 77, and 78, were published by different music publishers in cities such as Vienna, Paris, and London.
These symphonies were the first to be specifically composed for performances outside of Esterháza. Although Haydn had planned a concert tour to London, he only embarked on it after his employer's death. In the meantime, the London press eagerly awaited him and his music; rumors even circulated that there had been plans to kidnap Haydn and take him to Great Britain.
In a letter, Haydn described these symphonies as elegant and light, yet of high quality. The works were deliberately distinct from his compositions for the court and were tailored for international musicians. Symphony No. 76 dispensed with a slow introduction, instead beginning immediately with powerful chords and gentle melodies.
Haydn structured the finale of Symphony No. 77 as a sonata-rondo, while the preceding movements, with a lively Vivace and a tranquil Andante sostenuto, each set their own distinct accents. In Symphony No. 78, urgent notes appeared in the opening movement; the Adagio impressed with its brilliant development, before the Presto Rondo brought the symphony to a graceful close, lending it a special character.