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Why Mozartophilia? - is orchestration the answer? Or a register of compulsive comparers of every other composer and their works with this chap and his.
Just an observation after a frustrating day trying to explore other late 18th century composers without the constant repetition of Wolfgang Amadeus's virtues...

Listening to Mozart's music brings to mind adjectives such as "polished" and "perfect" and "mathematically precise" - not a note out of place, and not a chord where it shouldn't be. Probably markers of his genius (and there is no doubt, he was an exceptionally intelligent man) - definitely music for the brain.

But there are other late 18th century composers whose music I much prefer to listen to, and comes across as having more individual "personality" and quirky little imperfections and idiosyncrasies that hold more appeal for the "heart" than the "head."

At the moment I'm exploring the flute quartets (Op.7) by J.B. Vanhal, the flute concerti of Francois Devienne (known in his day as the "Mozart of the Flute"), and I've heard various nice things recently by Boccherini, Michael Haydn, and various members of the Stamitz and Benda families.

And for lovers of keyboard music, J.C. Bach's Harpsichord Concerto in B flat (Op.13, No.4) is delightful to listen to, lots of fun to play (especially with the electronic keyboard set to "HarpsyKorg") and not difficult.

Aldona

Interesting and intelligent response - thanks!

Listening to Mozart's music brings to mind adjectives such as "polished" and "perfect" and "mathematically precise" - not a note out of place, and not a chord where it shouldn't be.

I think that were the resources and performance standards that are applied to Mozart applied to other composers of the period, then they would be able to be appreciated more.

But there are other late 18th century composers whose music I much prefer to listen to, and comes across as having more individual "personality" and quirky little imperfections and idiosyncrasies that hold more appeal for the "heart" than the "head."

Wholeheartedly concur!

At the moment I'm exploring the flute quartets (Op.7) by J.B. Vanhal, the flute concerti of Francois Devienne (known in his day as the "Mozart of the Flute"),

....by compulsive comparers of his work with others. (see original post)

I recently translated the repertoire of Michael Maddox's Petrovsky Theatre (Moscow) opera troupe (1782-1805) from the russian and discovered in excess of 100 operas by something like 40 composers, (http://www.barnelms.com/Composers.htm ) where Mozart features as just one of many talented composers. It provides a fascinating vehicle to explore these other composers and their works, without the need for the constant comparisons. Or at least it does for me...

At the moment I'm exploring the flute quartets (Op.7) by J.B. Vanhal,

One of the many composers of the Maddox Petrovsky repertoire was Mathias Stabinger (1739-?1815) whose russian operas must be presumed lost, but his instrumental works op. I to VII have survived, with the flute playing an influential role in all of them.
He was the first composer to write specifially for flute quartet, according to Nikolaus Delius, who edited the six quartets in Stabinger's Opus VI. The parts, published by Zimmerman (Frankfurt), are available commercially. I rather wish someone would take it on themselves to record them...