I will never cease to be amazed by the absolute beauty Mozart manages to create through an apparent simplicity. Even in "lesser" works like this, the melodies, the textures and the quality of the music are outstanding.
Köchel's catalogue refers to K.102 as a 'Finale einer Sinfonie oder eines Divertimentos' with only the Presto assai's incipit given. The first movement is the Overture to Il Rè pastore K.208 and the second is an arrangement of Aminta's aria following it. So the work is really a cross between a small-scale symphony and an overture. However, Köchel also seems to suggest that by inserting the Marsch in C major K.214, the work could be used as a divertimento.
@@wolfie8748 I allways wonder, mostly the viola copies the bass one octave higher and interferes with the second violin, but still it sounds allright. Maybe the 1770 composers knew of this effect so they didn't bother to write sth interesting for the viola.
@@christianwouters6764 well to thing mostly orchestration wasnt that detailed. Bass cellos was just octaves or unison. After 1800 it started seperate more
From WIkipedia article that's posted on the description of the video "The Alte Mozart-Ausgabe (published 1879-1882) gives the numbering sequence 1-41 for the 41 numbered symphonies. The unnumbered symphonies (some, including K. 102,[1] published in supplements to the Alte-Mozart Ausgabe until 1910) are sometimes given numbers in the range 42 to 56, even though they were written earlier than Mozart's Symphony No. 41 (written in 1788). The symphony K. 208+102 is given the number 52 in this numbering scheme." Also on the description of the video is the IMSLP link where there too they number it as 52.
I will never cease to be amazed by the absolute beauty Mozart manages to create through an apparent simplicity. Even in "lesser" works like this, the melodies, the textures and the quality of the music are outstanding.
Köchel's catalogue refers to K.102 as a 'Finale einer Sinfonie oder eines Divertimentos' with only the Presto assai's incipit given. The first movement is the Overture to Il Rè pastore K.208 and the second is an arrangement of Aminta's aria following it. So the work is really a cross between a small-scale symphony and an overture. However, Köchel also seems to suggest that by inserting the Marsch in C major K.214, the work could be used as a divertimento.
It is Mozart. He was the only one to write decent parts for viola. Even Haydn couldn't do this
I agree but he liked viola very much
@@wolfie8748 I allways wonder, mostly the viola copies the bass one octave higher and interferes with the second violin, but still it sounds allright. Maybe the 1770 composers knew of this effect so they didn't bother to write sth interesting for the viola.
@@christianwouters6764 well to thing mostly orchestration wasnt that detailed. Bass cellos was just octaves or unison. After 1800 it started seperate more
Mozart wrote 41 only symphonies.
From WIkipedia article that's posted on the description of the video "The Alte Mozart-Ausgabe (published 1879-1882) gives the numbering sequence 1-41 for the 41 numbered symphonies. The unnumbered symphonies (some, including K. 102,[1] published in supplements to the Alte-Mozart Ausgabe until 1910) are sometimes given numbers in the range 42 to 56, even though they were written earlier than Mozart's Symphony No. 41 (written in 1788). The symphony K. 208+102 is given the number 52 in this numbering scheme."
Also on the description of the video is the IMSLP link where there too they number it as 52.
Wrong, he wrote many more
@@GUILLOM from 1 to 41 KV...
@@GUILLOM I'm refering tô traditional way of writing symphonies, not Concertante, ecc..
@@eduardoxavier3005 I know