# SS 30.11.29 - M. Haydn #25/Mozart #37



## realdealblues (Mar 3, 2010)

A continuation of the Saturday Symphonies Tradition:

Welcome to another weekend of symphonic listening!

For your listening pleasure this weekend:*

Michael Haydn (1737 - 1806)*

Symphony No. 25 In G Major, P. 16, MH334

*Wolfgang Amadeus Mozart (1756 - 1791)*

Symphony No. 37 In G Major, K. 444/425a

1. Adagio maestoso - Allegro con spirito
2. Andante sostenuto
3. Allegro molto
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Post what recording you are going to listen to giving details of Orchestra / Conductor / Chorus / Soloists etc - Enjoy!


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## realdealblues (Mar 3, 2010)

Another weekend is upon us and another Symphony is up for your listening enjoyment. This weekend it's a Symphony that was long attributed to Wolfgang Amadeus Mozart but was in fact mostly written by composer Michael Haydn. Mozart wrote the Adagio Maestoso introduction. I have listened to this one many times over the years and I'm looking forward to hearing it again. Hope everyone has a good weekend.

I'll be listening to this one on disc but here's a YouTube recording for anyone without one.




Christopher Hogwood/The Academy Of Ancient Music


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## D Smith (Sep 13, 2014)

I'll be listening to Goritzki here. Good choice of symphony!


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## Rogerx (Apr 27, 2018)

Bambert -M. Haydn


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## Mika (Jul 24, 2009)

This one from spotify


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## Haydn man (Jan 25, 2014)

I shall go with this version


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## Merl (Jul 28, 2016)

Rogerx said:


> Bambert -M. Haydn


Me too............


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## cougarjuno (Jul 1, 2012)

Going with a 1956 recording with Leinsdorf conducting the RPO


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## KenOC (Mar 7, 2011)

I'll be listening to the Bamert. On this release, the work is referred to as the "Symphony in G, P16".


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## Rogerx (Apr 27, 2018)

M. Haydn - P 16, MH 334 - Symphony No. 25 in G major
Found this one on YouTube, pleasant .


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## KenOC (Mar 7, 2011)

Listened to the “Contemporaries of Mozart” performance by the London Mozart Players, Matthias Bamert conducting. This is the original without the introduction that Mozart added. It’s about 16 minutes long.

The first movement opens with a stringing together of rather squarish and undistinguished phrases, not of much interest but sounding nice in the “classical” manner. After the expo repeat, there is little development to speak of, then the obligatory recap and a vestigial coda.

The Andante, again, is nice sounding but there’s little to remember. The oboes are a nice touch in the last third of this ternary-form movement.

The finale, a triple-time rondo, again does some stringing together, but there’s a bit of variety and some mild surprises, making this movement somewhat more interesting than the first.

Joseph Haydn once said that his brother wrote better religious music than he himself did, but he made no such claim about Michael’s secular music. He likely thought that silence was the better policy. If so, he was right.


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