Despite his seclusion at the Eszterházy court, Haydn's music spread throughout Europe during the 18th century, from London to Cádiz, as early as the 1770s. His works were particularly well-received in Paris, as evidenced by the numerous publications of his compositions and those of others who used his name. However, the lack of international copyright meant that this widespread distribution brought him little financial gain. Nevertheless, Haydn seized every opportunity to receive commissions, especially from Paris. It was one such commission that led to the creation of the six famous "Paris Symphonies," numbered 82 to 87.
Musical life in Paris during the 18th century was organized by various societies. The Concert de La Loge Olympique was particularly important to Haydn because its large orchestra offered opportunities unavailable in Austria. This society, under the direction of Claude-François-Marie Rigoley, Comte d’Ogny, commissioned the six symphonies. Le Chevalier Joseph-Boulogne de Saint-Georges was also involved in this commission.
Haydn had originally wanted his publisher, Artaria, to release the symphonies in a specific order. However, this order was changed, presumably for economic reasons. The symphonies premiered to great acclaim during the 1787 Olympique concert season and were subsequently well-received at the Concert Spirituel. Queen Marie Antoinette was particularly taken with Symphony No. 85, which is why it was nicknamed "La Reine" (The Queen).
The symphonies achieved great success in charity sales and gained widespread recognition, not least because of Haydn's innovative compositional style. Symphonies Nos. 86 and 87 were each distinguished by their remarkable harmonic and melodic inventions. The complex structure and expressive power of his music underscored Haydn's exceptional talent and cemented his status as a major composer.