In 1785 the composer Franz Joseph Haydn was invited to compose six symphonies for a concert organisation in Paris. After years of relative isolation working for the Esterhazy family, this was to be the turning point in his career. Until then he was (or thought he was) an ordinary court composer. In fact he was not nearly as isolated as he had thought, and his published symphonies and string quartets had earned him celebrity across Europe beyond his realisation.

The six symphonies known as the 'Paris' Symphonies are numbered 82-87 in the series of 104 that Haydn composed throughout his career. Between 1786 and 1790 he was to compose five more individual symphonies for Paris (nos. 88-92), and from 1791 to 1794 the twelve symphonies collectively known as the 'London' Symphonies (nos. 93-104, which are really two sets of six). In a sense the six Paris symphonies are the culmination of the conventional 'court' style - not that Haydn was ever routine - but several of them, notably nos.82, 85 and 86, are fully equal to the best of the later works in every respect. The symphonies were not written in the order in which they are numbered, with nos.83, 87 and 85 dating from 1785, and the remainder from 1786.

Symphony no.82 is in C major (1786), and is notable for its sound, reminiscent of Beethoven. Perhaps the most aggressive of all Haydn's symphonies, its first movement contains a ringing passage where the orchestra seems to positively growl, and the finale is a huge dance in the style of a carmagnole that anticipates Beethoven's seventh symphony. Either the growling or the dance (or both) has led to this symphony being known as 'The Bear', but the music speaks for itself. The towering minuet is one of Haydn's finest, and even the slow movement, a set of allegretto variations, has a fierceness about it.

No.83 is in G minor (1785) begins with an even fiercer sounding allegro which makes more demands on the listener than any previous symphony - one can imagine the effect of the expanded Parisian orchestra during the opening forte passage. Within this movement a strutting passage in the strings and oboe has given the symphony the nickname of 'The Hen'. Also noteworthy is the finale, a gigue-like piece in the major key, which as has been noted, has a touch of 'she cut off their tails with a carving knife' about it.

No.84 (1786), in Eb major, begins with a grand introduction which leads into a steady allegro with a Handelian feel to it, enlivened by flourishes from the horns and woodwind instruments. This symphony is sensitive to good or bad conducting; taken over-fast it sounds shallow, but with a broad tempo it is revealed as a most noble creation.

No.85 (1785), in Bb major, is the most genial symphony of the set. In celebratory mood throughout, it has become known as 'The Queen', as it was the favourite of Marie Antoinette, and seemingly also of everyone else. The opening movement, with its long-breathed melodies and chromatic cadences, is especially winning, although like no.84 it seems to need careful pacing. It has been remarked that with the frequent woodwind flourishes the music seems to be bedecked with jewellery, as no doubt Marie Antoinette was herself. The second movement is an allegretto set of variations on what seems to be a traditional French song. The minuet contains exquisite birdsong from the flutes while the finale is a vivacious rondo.

No.86 in D major (1786) has no nickname, but is perhaps the finest of the set. It begins with a slow introduction that quickly breaks into a most excitable opening movement, glorying in harmonic surprises and orchestral colour. The second movement, marked 'Capriccio. Largo' is a new departure. The first of the hymn-like slow movements characteristic of Haydn's final period, it is written with a freedom of form rare in his works. A large-scale minuet is followed by a boisterous finale in full sonata form.

No.87 in A major (1785) was perhaps the first of the set to be written. Its first movement is a tour de force. The development, while adventurous and wide-ranging harmonically, is in fact a more or less direct repetition of the exposition; the recapitulation, while it grounds the music in the tonic, is a free development; the sequence of ideas is changed, and literally nothing is the same as previously. Yet the effect is one of satisfying resolution. Nothing could better illustrate Haydn's true mastery of the symphonic style, a music which he virtually invented and brought to maturity.