Count Morzin

[3] The difference apparently involves the question of whether Haydn was hired by the reigning count (Ferdinand Maximilian) or his son (Karl Joseph).

[4] The appointment ended a period of struggle and economic insecurity for the composer, during which time he had worked as a freelance, gradually increasing his reputation and his connections with the aristocracy.

[6] Evidence from copied parts made for Baron Karl Joseph Weber von Fürnberg (an earlier Haydn employer) leads Robbins Landon to conjecture that the Count's orchestra consisted of "at least six, possibly eight violins ... while in the basso section there were at least one cello, one bassoon and one double bass (violone).

The end of Haydn's appointment with Morzin is narrated by another early biographer, Albert Christoph Dies (1810): In fact, since Haydn was Kapellmeister at Eisenstadt in all but name, the incumbent Kapellmeister being infirm, the move to the Esterházy family was a big career advance for him, and he continued there in the same general line of work, as composer, conductor, and administrator, but working for a far wealthier family.

An earlier conjecture for which symphonies were written for Count Morzin was made by H. C. Robbins Landon, specifically numbers 1, 37, 18, 19, 2, B, 16, 17, 15, 4, 10, 32, 5, 11, 33, 27, A, 3, and 20.