Haydn spent most of his professional life as a court composer for the Esterházys, one of Hungary's most wealthy noble families. Living in a remote location (at the royal palace, modestly called Esterháza), at the helm of the resident orchestra, and given virtually unlimited artistic freedom, he had ample opportunity to experiment with his approach to form, instrumentation, and any other issues that would have an effect on the listener. As he later explained, "I could observe what created an impression, and what weakened it." He was prolific in all genres, including choral, chamber, and orchestral music; in particular, he often produced several symphonies in a single year, and finished his career having composed more than one hundred.
By 1780, several factors contributed to a reduction in the quantity (and, to some extent, the quality) of his compositions. He had finally succeeded in establishing contacts with music publishers, and was working to achieve greater distribution of his music. Nikolaus Esterházy had developed an interest in opera, and Haydn took on the responsibility of arranging for frequent operatic performances at Esterháza -- primarily works by composers other than himself. Furthermore, he had in his servitude been composing almost non-stop for nearly twenty years, and had finally reached a creative trough. As a result, his output from the early 1780's is not as impressive as from early in the previous decade.
Nonetheless, works of considerable merit from this period can easily be identified, and the Symphony #75 is a fine example. During Haydn's lifetime, this became one of his most popular symphonies all throughout Europe, a phenomenon probably due to its consistently sunny manner and infectious melodic and rhythmic vitality. The slow introduction of the first movement appears to establish a serious mood, but the ensuing allegro puts any apprehensions to rest. The second movement, an innocent theme and variations, features a warm, hymn-like melody. In the third variation, two solo violins and a solo cello recreate the effect of an old-style concerto grosso. The third movement is a classic minuet; the trio, again echoing an old tradition, features a reduced orchestra, with the melody carried by only the flute and a solo violin. The finale is based entirely on the theme heard at the outset. Before long, the clouds from the introduction to the first movement return, but they are quickly chased away. The music seems to lose its way a few times, with disorienting pauses, but the principal theme eventually ushers the piece to a witty close.