#1, F major, K.37: So what if this is WAM's arrangement of someone else's work. We will be deleting drastically.

Most of the first movement (not wholly WAM's fault) is annoying — especially the syncopation —and should be removed. Curse all that repetition and all those triplets. Some melodic relief from around the last bar on page 10, but not for long! 

The second movement is something out of a lunatic asylum. No musical merit at all. So much repetition!

With its insane inane repetitiveness, the third movement at least moves, which means we can get it over with, but most of it belongs in the trash. We assume the repeat at page 26 is pre-natal Wolfie's attempt at black humour.

#2, Bb Major, K.39: Another arrangement.

One has the feeling the first movement is worthwhile, and it is fun to play. But much of it is pointlessly repetitious and should go.

The second movement is music to accompany one banging one's head against the wall of a padded cell. The repeat at page 17 is another sick joke. Most of this movement belongs in the trash.

The third movement: finally we get something worth playing but there's the usual garbage which simply has to go (around page 28 etc.)

#3, D major, K.40:  Another arrangement.

First movement: let not the first three chords be played loud — ƒ does not mean loud — lest this degenerate from the outset into the Hollywood Bowl Mozart beloved of clueless record companies. More gratuitous unmusical repetiousness. Those infernal three chords. Why? Couldn't Leopold have had a word with the now teething infant? Page 9 is especially annoying and much of it will have to go. The recapitulation on page 10 is simply insufferable: we have definitely got the message, Wolfie ol' boy!

I happen to like the second movement but don't know why. I hate to say it, but we're going to have to make some changes because all this repetition is now starting to get to me.

Yes, the third movement has some interesting moments and harmonies and dramas (eg pp.31-2) but some repetition and the repeat thing will have to go.

#4, G major, K.41:  Another arrangement. You'd have thought the man now in short pants would have moved on…

The first movement will not be prejudiced by deep judicious excision of you know what.

The second movement is quite pretty and was quite effectively conveyed to the guests of the State of Arizona, until they lost interest, becoming almost mutinous, because it is too long and because from p.20 onwards it is drop-dead boring.

The third movement will not interest anyone in his right mind.

#5, D major, K.175:  At last, WAM's first original, tossed off while playing hooky from kindergarten playgroup.

The first movement makes a conspicuous ass out of anyone who plays it excitedly. The usual challenge: to forget you have ever heard CBS or Hollywood Bowl Mozart and to play it sedately, elegantly, slowly and quietly. Can you imagine how that sounds?  Anyway, the thing is way too long, becoming insufferable after about two minutes. You know what we're going to do with it, don't you?

We fail to detect the second movement's tune. There isn't one. It is too long, it is boring, it is tedious to listen to, and it has nothing interesting for any player.

The third movement is uninspired rubbish.

#6, Bb major, K.238: Now we're finally getting somewhere.

The first movement, which should never be played more strongly than mƒ, is an elegant delight, especially p.8. We shall say nothing deleterious about the tedious repetitions because the man is at least trying to make it interesting, at least in parts, and after all the fashion of those days was clearly endless insane repetition etc.

But we cannot and will not waive the repetitions in the second movement. Most of p.16 has to go and you will thank me for it.

I like the third movement in principle, including the piano opening (the fingering has intruded on many a waking hour). I even like the development (p.23+). But the you-know-what from p.27 is reprehensible and must go.

#8, C major, K.246: I've played this many times in public, increasingly enjoyably (for me at least). I always find something new and fresh in it. Easy to play badly. Highly effective with a string quartet. Ignore all the speed markings.

#23, A major, K.488: I intensely dislike this piece and how it is conventionally played. It's fifth-rate Mozart that gets tenth-rate playing. And always the same performance. Nothing to distinguish one from another. (Sounds like a recording industry trust to me.)

Playing first. I've just suffered the first few minutes of Faustian Rubinstein with St Louis Symphony Orchestra, Golschmann, 1949. It is Hollywood Bowl-NBC-CBS-HMV-style butchery. It's everything I execrate about the rendering of Mozart concertos. It is impossible to listen to the rest. Compare this performance with my own to see what I mean.

First movement: the strings are annoying — specifically those inexplicable, intensely disagreeable crotchety cellos: how much more pleasant quavers instead. Lots of annoying repetitions, which I will excise without hesitation.

Second movement: I just don't get it. Annoying for the absence of a tune, and for the effort needed to make it say something. The peculiar few bars on p.27 obviously don't belong there. 

The third movement is problematic. Over-orchestrated, it suggests obese elephants doing a sand dance on loganberries. It's unbalanced; it's not aerodynamic; it's lumpy; it doesn't flow. The autograph says 'allegro aper[to] ' but I've seen presto in at least one score and think that might be better (at least to get it over with).