Symphony No. 26 in D minor seems to have been written in 1768 or thereabouts and is scored for the usual Esterháza forces of pairs of oboes and French horns, bassoon, strings and cembalo. Haydn completed his Symphony No. 35 in B flat major on 1st December 1767, scoring the work for pairs of oboes and high B flat horns, bassoon, strings and cembalo. What starts light-heartedly enough assumes a graver air in the central development, where contrapuntal use of earlier thematic material introduces an element of stronger feeling, with the recapitulation marked by the ascent of the first horn to unusual heights. The E flat major slow movement is scored for strings only with music of considerable charm. The wind instruments return for the Minuet, but are excluded from the E flat Trio, with it's triplet rhythm handed from second to first violin. The symphony ends with a cheerful Finale and the tone of the whole work has led Robbins Landon to suggest that it might have been written to celebrate the return from Paris of Prince Esterházy, who had visited France in the autumn of 1767 with the presumed object of learning more about the Palace of Versailles that his own new palace at Esterháza was to imitate and rival. Symphony No.49, La Passione, was written in 1768 and is scored for pairs of oboes, French horns in F, bassoon, strings and originally cembalo. This work, in the key of F minor, belongs clearly to the dramatic mood of Sturm und Drang, although not so called until the publication in 1777 of Klinger's play of that name. Sturm und Drang (Storm and Stress), a self-explanatory title, describes well enough the current literary mode of extravagant expression of emotions, partly reflected in some of the music of the period. Haydn's symphony follows the old pattern of the church sonata, opening with a slow movement. A degree of tension is generated in the following Allegro di m