By 1780, Haydn, although at the height of his Esterhazy employ, had creatively and stylistically become his own man. It is around this time (1781) that Haydn met Mozart, although the elder man had been familiar with and admiring of the latter's music. This celebrated mutual admiration society was perhaps the most fruitful in the history of music, for the respect, even friendship, was genuine and tempered by a healthy and sportsman-like sense of competition. Thus, the music of both was enhanced. They learned from each other, and one is intrigued by certain possible intimations of the young Salzburg master in Haydn's Symphony No. 62 in D.

With standard-period scoring save tympani, No. 62 seems to echo the younger man in its opening theme consisting of a triadic phrase contrasted with a more lyrical one, then making a transition to the second theme via a winged crescendo. But the second movement, allegretto, is unlike anything else in Haydn or Mozart. Minimal in texture, melody and accompaniment are compressed into a single slender cord of sound as the movement flows along at a leisurely pastoral canter, perhaps a streamlet that forked off from brook known to Beethoven. The third movement, a minuet in Haydn's lusty bucolic style, conveys a hint of syncopation by its starting on the anacrusis. The mysterious opening of the finale is novel, sounding as though the music has been playing unheard for some measures prior, then bursting forth with a sudden forte. With dramatic modulations there are flashes of grandeur, reminiscent of Haydn's young friend, which may suggest the "Haffner" or "Jupiter." Indeed, when kindred spirits meet, age is but a number.

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