Haydn's Symphonies Nos. 90-92 comprise a trio of interconnected works composed for the Comte d'Ogny in Paris in the years just prior to Haydn's journey to England. In these later symphonies, and certainly in the forthcoming "London" Symphonies, the composer demonstrates a complete, individual command of the orchestra and of symphonic form.

The idea of a slow introduction to the opening fast movement of a symphony is really little more than an abridgment of the slow movement that typically opened the Baroque sonata da chiesa. In the Symphony No. 90, Haydn solves the problem of unifying the introduction and the main body of the movement by allowing the subsidiary musical material of the introduction to become the main theme of the Allegro assai which follows. The movement is festive and energetic as, indeed, are most of the composer's symphonies in the joyous key of C major.

The slow movement is more reserved in tone. Although possessed of delicate lyricism, and a somber middle section in F minor, the movement as a whole seems surprisingly non-emotional, perhaps a comment on the superficial concerns of the French aristocracy for whom the work was composed. This atmosphere of restrained, distant dignity continues in the Menuet and Trio: one wishes at times for the more truly German, foot-stomping dances that find their way into other Haydn minuets. The humorous finale, cast in a monothematic sonata-allegro form, is notable for its extended coda, which begins after an unexpected turn into the remote key of D flat major.

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