Instruct: Given a question, retrieve passages that answer the question.
Query: How many symphonies did Haydn compose?
There are 106 symphonies by the classical composer Joseph Haydn (1732–1809). Of these, 104 have numbers associated with them which were originally assigned by Eusebius Mandyczewski in 1908 in the chronological order that was known at the time.[1] In the subsequent decades, numerous inaccuracies in the chronology (especially in the lower numbers) were found, but the Mandyczewski numbers were so widely used that when Anthony van Hoboken compiled his catalogue of Haydn's works, he incorporated the Mandyczewski number into Catalogue I (e.g., Symphony No. 34 is listed as Hob. I/34).[1] Also in that time period, two additional symphonies were discovered (which were assigned non-Mandyczewskian letters "A" and "B"), bringing the total to 106.
The Symphony No. 72 in D major (Hoboken 1/72) is a symphony by Joseph Haydn. The symphony was probably composed between 1763 and 1765. The date of this composition is earlier than its number suggests. This work is not well chronologically placed in the Hoboken numbering system: it was composed fifteen to twenty years before the neighboring works.
The Symphony No. 52 in C minor is one of the last "Sturm und Drang" symphonies composed by the Austrian composer Joseph Haydn while the composer was in residence at Esterházy in 1771 or 1772.
Haydn composed the symphony in early 1792. At the time, Haydn was in the midst of the first of his two visits to London, under contract to perform a series of new symphonies with an orchestra led by Johann Peter Salomon as concertmaster. The symphony was performed on 2 March 1792 at the Hanover Square Rooms, with Haydn directing the orchestra from the keyboard. The premiere came two weeks after that of the Symphony No. 93, and one week before that of the Sinfonia Concertante. Haydn recalled that at the premiere of the No. 98, the first and fourth movements were encored.
The symphony is called the "Oxford" because Haydn is said to have conducted it at the conclusion of a ceremony in 1791 in which the degree of doctor of music was conferred on him by Oxford University. A candidate for this doctorate was required to present a specimen of his skill in composition, and that presented by Haydn was not as is sometimes said this symphony, but a minuet "al rovescio", i. e. a palindrome, though not one specially composed for the occasion, as it first appears in G major in Haydn’s 1772 symphony no. 47 (Hob. I:47), and in the following year in A major as the minuet of his keyboard sonata in that key (Hob. XVI:26), where the trio is also a palindrome. The "Oxford" nickname stuck, though the symphony had actually been written in 1789 for performance in Paris. The degree was conferred fairly soon after Haydn’s first arrival in England, and as he had not by then finished composing any of the twelve "London" symphonies which he ultimately wrote for England, he brought to the Oxford ceremony his most recently completed example in the form.
The Symphony No. 69 is a symphony by Joseph Haydn in C major, Hoboken I/69, known as the "Laudon" symphony. Composed around 1775–1776, it represents a stylistic departure from the composer's earlier intense Sturm und Drang period and was written at the same time as Haydn was writing numerous comic operas. Despite the lighter tone, however, the symphony is "as finely crafted, as interesting, indeed as original, as the preceding ones, albeit very different in character."
The Symphony No. 54 in G major, Hoboken I/54, is a symphony by Joseph Haydn, composed in 1774.
The Symphony No. 40 in F major, Hoboken I/40, is a symphony by Joseph Haydn. Despite its number, Haydn had composed this symphony by 1763, long before the other symphonies numbered in the 30s and 40s in Hoboken's catalog. Chronologically, the symphony belongs with no. 13 and has stylistic similarities with Haydn's earliest symphonic output.
The Symphony No. 19 in D major, Hoboken I/19, is a symphony by Joseph Haydn. The symphony was composed between 1757 and 1761.
The tale of how the symphony was composed was told by Haydn in old age to his biographers Albert Christoph Dies and Georg August Griesinger.
The Symphony No. 68 in B flat major, Hoboken I/68, is a symphony by Joseph Haydn. The symphony was composed by 1779. 
The London symphonies, sometimes called the Salomon symphonies after Johann Peter Salomon who introduced London to Joseph Haydn, were composed by Joseph Haydn between 1791 and 1795. They can be categorized into two groups: Symphonies Nos. 93–98, which were composed during Haydn's first visit to London, and Symphonies Nos. 99–104, composed in Vienna and London for Haydn's second visit.
Haydn was also a prolific composer of secular music, including forty symphonies and wind partitas, and multiple concertos and chamber music including a string quintet in C major was once thought to have been by his brother Joseph. There was another case of posthumous mistaken identity involving Michael Haydn: for many years, the G major symphony now known to be Michael Haydn's Symphony No. 25 was thought to be Mozart's Symphony No. 37 and assigned as K. 444. The confusion arose because an autograph was discovered with the opening movement of the symphony in Mozart's hand and the rest in another's hand. It is now known that Mozart composed the slow introduction to the first movement but the rest of the work is by Michael. As a result, this work, which had been quite widely played when thought to be a Mozart symphony, has been performed considerably less often since this discovery in 1907.
The Symphony No. 98 in B major, Hoboken I/98, is the sixth of the twelve London symphonies (numbers 93–104) composed by Joseph Haydn. It was completed in 1792 as part of the set of symphonies composed on his first trip to London. It was first performed at the Hanover Square Rooms in London on 2 March 1792.
In 1782, almost a decade before Haydn composed the first of his famous London symphonies, he composed a trio of symphonies – 76, 77 and 78 – for a trip to London which fell through. Haydn wrote the following to his Paris music publisher Boyer on July 15, 1783:
The Symphony No. 66 in B flat major (Hoboken I/66) is a symphony by Joseph Haydn. The time of composition is uncertain, with one speculation from around 1775–1776. The symphony is scored for two oboes, two bassoons, two horns and strings.L.P. Burstein has noted Haydn's use of the VII chord and the VII → V progression in the first movement. A.P. Brown has noted how Haydn reworked material from the symphony's first movement into other compositions, including an overture in D and two other symphonies.
The Symphony No. 38 in C major, Hoboken I/38, is an early and festive symphony by Joseph Haydn. The symphony was composed some time between 1765 and 1769. Because of the virtuosic oboe parts in the final two movements, it has been suggested that the work's composition may have coincided with the employ of the oboist Vittorino Colombazzo in the fall of 1768. The symphony is popularly called the Echo Symphony, a nickname that, like all other named Haydn symphonies, did not originate with the composer.
The Symphony No. 30 in C major, Hoboken I/30, is a symphony by Joseph Haydn composed in 1765, at the age of 33. It is nicknamed the Alleluia Symphony because of Haydn's use of a Gregorian Alleluia chant in the opening movement. 
The Symphony No. 57 in D major, Hoboken I/57, is a symphony by Joseph Haydn. The symphony was composed in 1774, under the auspices of Nikolaus Esterhazy, for whom he would compose symphonies for until 1789. It is scored for two oboes, two horns and strings.Daniel Heartz has noted Haydn's use of a "repeated D motif", from the very beginning of the symphony throughout the work. The second movement is structured as a theme with four variations. The finale is based on a traditional melody which was also used by Baroque composer Alessandro Poglietti in his composition "Canzona and Capriccio on the Racket of Hen and Rooster". Here, the melody is adapted to a tarantella/saltarello dance rhythm similar to the previous Symphony No. 56.
The symphony was the eleventh of twelve that were composed for performance in England during Haydn's two journeys there (1791–1792, 1794–1795), arranged and organized by the great impresario, Johann Peter Salomon. Haydn's music was well known in England well before the composer traveled there, and members of the British musical public had long expressed the wish that Haydn would visit. The composer's reception in England was in fact very enthusiastic, and the English visits were one of the most fruitful and happy periods of the composer's life. Haydn composed the "Drumroll" Symphony while living in London during the winter of 1794–1795.
There is no sign that Nikolaus had any real interest in Haydn's string quartets, now considered among his greatest works. However, there is one area of Haydn's œuvre where Nikolaus can be uncontroversially considered a great patron of musical arts, as he was the primary sponsor of Haydn's series of symphonies. Of the 106 symphonies, those following the series written for Count Morzin (Haydn's first employer) and for Paul Anton, and before the Paris symphonies of the late 1780s, were written specifically at Nikolaus's instigation. They were premiered by a small orchestra that Nikolaus provided to Haydn, giving the composer ample rehearsal time, salary levels to attract top personnel, and full artistic control. Few composers can ever have claimed to have possessed such an incubator for their creations, and the symphonies that Haydn wrote for this ensemble can fairly be regarded as Nikolaus's gift to posterity.
Salomon brought Joseph Haydn to London in 1791–92 and 1794–95, and together with Haydn led the first performances of many of the works that Haydn composed while in England. Haydn wrote his symphonies numbers 93 to 104 for these trips, which are sometimes known as the "Salomon" symphonies (they are more widely known as the London symphonies). Haydn's esteem for his impresario and orchestral leader can sometimes be seen in the symphonies: for example, the cadenza in the slow movement of the 96th and the phrase marked "Salomon solo ma piano" in the trio of the 97th; the Sinfonia Concertante in B-flat major was composed for Salomon, who played the solo violin part; and the six string quartets opp. 71 and 74, written between the two London visits in 1793, though dedicated to Count Apponyi, were clearly designed for the public performances that Salomon's quartet gave in London. Salomon is also said to have had a hand in providing Haydn with the original model for the text of "The Creation". He was one of the founder-members of the Philharmonic Society and led the orchestra at its first concert on 8 March 1813.
The symphony has long been popularly known as the Feuer or Fire symphony. As with most other monikers attached to Haydn's symphonies, the name itself did not originate with the composer. For a long time, the attributed title was thought to refer to the fiery nature of the composition, particularly the rather unusually spirited first movement (marked Presto, a tempo indication more typical of final movements) and the brief but energetic last movement, which features prominent horn fanfares and corruscating runs on the strings. However, there is nothing particularly distinguishing about any of the movements that would make it more impassioned than other symphonic compositions by Haydn during this period.
Symphony No. 67 in F major, Hoboken I/67, is a symphony by Joseph Haydn. It was composed by 1779. The Haydn scholar H. C. Robbins Landon calls this work "one of the most boldly original symphonies of this period."
In 1782, almost a decade before Haydn composed the first of his famous London symphonies, he composed a trio of symphonies – 76, 77 and 78 – for a trip to London which fell through. Haydn wrote the following to his Paris music publisher Boyer on 15 July 1783: