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Anyway, early F.J. Haydn symphonies are generally superior to early J.C.W.T.* Mozart symphonies... Listening to it now via YT over 35 years after playing it, though, this #12 sounds better than i recall. Perhaps the 1.25× speed helps.^^ The defect seems to be primarily the extreme weakness of the opening subject of movt.I, whereas the Finale at a brisk tempo now rocks f.m.~ *Johannes Chrysostomus Wolfgangus Theophilus, his baptismal name (of course).^^ B.t.w., Maestro Klumpp was one of many guest conductors we had in the Bangkok-area-based Thailand Philharmonic Orchestra. The most ambitious work we did was the R. Strauss "Eine AlpineSymphonie"; yes, we actually had all 20 horns the score requires (only 8 are employed throughout, however---12 are only needed for one off-stage "hunting horns in the distance" episode). The College of Music at Mahidol University, the campus on which the orchestra was based, was quite the resource for extra musicians required for off-stage brass (Mahler 2, Schostakovich Festival Overture, Tschaikowskiy 1812, the Respighi Roman Trilogy, etc).

Not surprising That an 8 year old could write this strains credulity.

you see what 8 yr old's can do today with instruments ? they blow this away. so yeah I believe it when they say he was only 8 when he made this. with a lil help from his father ofc I believe that to. but for this time in human history there wasn't much for anyone to do that's why when they did something they were dedicated to the fullest. not much to take your mind off whatever it is your doing then.

Ja, das war er!

Thank you!

Die Vorschläge sind in Einklang mit dem Lehrbuch von Daniel Gottlob Türk gespielt. Auch Quantz lässt sich so lesen. Ich empfehle zudem das Buch "der Vorschlag von Günther von Noé, wobei ich ihm nicht in allem folge - er ist doch ein "Must-read". Letztendlich ist vor allem der Quantz (weit mehr als Leopold Mozart) sowie die Frage, wann W.A. Mozart in seinen Sinfonien lombardische Rhythmen schrieb und wann Vorschläge, entscheidend. Vergleiche z.B. KV 129 und KV 130. Auch die unterschiedlichen Vorschläge innerhalb der "Pariser Sinfonie", die keinen Sinn ergeben, wenn sie alle "auf die Zeit" gespielt werden. Harmonisch zumindest gibt es trotz anderslautender Gerüchte in meiner bescheidenen Einschätzung keine Begründung. Ich bin alle Sinfonien durchgegangen... aber ich lerne gerne dazu. Die Anregung zur Beschäftigung mit dem Thema habe ich übrigens von Reinhard Goebel erhalten. Ist also nicht alles auf meinem eigenen Mist gewachsen. Herzliche Grüße, danke für die Nachfrage! JK

@@johannesklumpp757 But Quantz, Haydn, and Stamitz none applied the lombartic rhythm in their works and the treatise showed the ornamentation/embellishment notes as either appoggiatura or acciaccatura. They were written as fully grouped sixteenth or accentuated sixteenth. Not separated like what she is doing here...

@@dasteufelhund Not quite. Regarding Leopold Mozart's book, you are right, but Türk goes into the special case of the dactyl, where the grace note has to played short and before the beat. The German word of the time is "angeschliffen". And Quantz makes a very clear distinction between the note on the time (as you describe it) - and the short note played before the time. (The german word “Vorschlag” literally menas “before the beat”…) Look, we are not playing a Lombard rhythm, where the short note is explicitly played "on time" (like in the beginning of Mozart Symphony K. 129). We "schleifen an", i.e. play just before the beat. Thus the dactyl (long-short-short) remains as rhythm. (In his symphony K. 130 we have a Lombard rhythm and a grace note in one place - the grace note HAS to be played before the time...) You see, in my opinion, this was the way of playing from which Mozart had in mind. Only at the beginning does it attract attention. After a short time, it even seems more natural, lively and elegant to me - and many other people. By the way, this dactyl with gracenote is a typical "gallant" figure. It has its heyday from 1725 and disappears in the eighties. In Vienna, Mozart uses it less and less. Very exciting to comprehend. You will find many arguments for your thesis in the sources. I find many for mine. Probably we have to accept that one can see it differently. We could discuss this for hours, I love it. But so much for now. I have formulated the text in German and had to translate it (with a little help from DeepL, because I can express these complex facts better in my language. I hope the translation is ok. Thank you for your questions.

Still can’t believe it has only 3.7k views when all the others, even Pahud’s , aren’t as perfect as this. Pahud’s is fantastic but it can get a little old

In Mozart's day, first and second violins always sat opposite to each other. We often hear stereo effects in his music, which is why this seating arrangement has a greater effect for the listener in my opinion. The harpsichord appeared in orchestras at that time, but not always (Haydn for example did not use a harpsichord in Esterhazy as we know today). Thus, it remains a matter of taste. I prefer the sound without the harpsichord.

Thank you!

Es = E flat in german

The answer is given in one of the very first moments - and it is given in German: "Es-Dur", which is in English "E flat major". ;-)

Everybody in the classic music business is busy playing Shostakovich and other dark, hard to digest stuff, they don't have time for fun music.

He was one in 8 billion. I can't think of anyone today like him.

Vielen Dank, das freut mich!