From 1761 to 1791, Haydn worked at the remote palace of Eszterháza, under the employ of Prince Nicolaus Esterházy (and briefly that of his predecessor). His various duties there included the oversight of all instrumental and secular vocal performances, teaching voice lessons, keeping musical archives, acquiring and maintaining instruments, and performing on the violin and keyboard. He was also, of course, required to compose prolifically. Once he became comfortable in his position, his seclusion became a stimulus for experimenting with the symphonic form. The concept of a "symphony" as a multi-movement, stand-alone work for orchestra was nearly new when Haydn began his career. By the end of his life, he had written at least 107 such works (with 104 of them included in the traditional numbering), of which about 70 were composed for the Esterházy court.
Although Haydn's general tendency toward so-called "Classical" artistic principles - symmetry, poise, and emotional detachment - is evident in most of his music, his style did go through different phases over the course of his career. In the early 1770s, he produced several works that reveal the influence of the Sturm und Drang ("Storm and Stress") movement that characterized some German art of this period. The tendency in this art was toward overt emotional impact, especially along the lines of fear or terror. In the "Farewell" symphony, the Sturm und Drang influence is most evident in the first movement and the first half of the final movement. But the second movement is also quite striking, as it deals with self-consciously minimal materials, a very constricted dynamic range, and stretches of unusual harmonic poignancy.
The symphony's nickname comes from the extraordinary final movement. The first half of the movement is quite fast, in accordance with conventional expectations that Haydn himself helped to establish. (Indeed, the first part of the movement is quite similar to the final movement of Haydn's "Mourning" symphony, which he had just completed.) Just as the movement seems to be nearing its conclusion, however, everything stops. The music which follows is related (by tempo, meter, and tonality) to the serene second movement - hardly the fiery conclusion that the symphony seems to need. Gradually, the various players of the orchestra stop playing, their parts bearing the instruction nicht mehr ("no more") at their individual conclusions. By tradition, each player departs the stage after completing his or her part, even though the remainder of the orchestra continues performing. This tradition is believed to stem from the piece's first performance. Haydn's Eszterháza musicians, weary after what had already been a long season (and separated from their families), asked Haydn whether he might convey a message to the Prince about their fatigue. Rather than confront his employer directly, Haydn decided to communicate through his new symphony. Prince Nicolaus got the message - and granted the musicians their vacation shortly after the work's premiere.