These delectable divertimentos were but two of about ten such works Mozart wrote at the age of 20—in which year he also composed three piano concertos, four Masses and other sacred music four church sonatas and a few other oddments. A productive young man, indeed: having written K247 for the Countess Lodron's name-day in mid-June 1776, in only the next six weeks he produced not only K251 (apparently for his sister Nannerl) but the big Haffner Serenade and a smaller one and the Venite populi Offertory for double choir. Even when writing in haste, as was the case with K251, to judge by the state of the manuscript, the wonder is that his invention remained sparkling and his technique superb.
The Hungaroton/Conifer performance of the present two works by Rolla and his Liszt Chamber Orchestra was greeted a year ago by MM with understandable pleasure; and that now by Vegh and his Mozarteum players (a body of similar size) in his continuing series of all the divertimentos shows many of the same virtues—fresh tone, exhilarating rhythm, excellent balance, sensitive nuances, and both are equally well recorded (the newcomer with the merest shade more resonance). For me, choice between the two versions is made harder by a preference for one work from each set. Vegh scores in K251 by having an altogether better-toned solo oboist (unnamed, which seems unfair); I like his adoption of a faster and lighter approach in most movements (Rolla's first Minuet is rather pompous); his use of solo strings in the variations of the second Minuet (again more spritely) makes a welcome change of sonority; and his handling of the capricious Rondeau (in which the oboe again shines) is more naturally flexible. He brings more snap to the final Marcia alla francese (in which Rolla is rather too relaxed) but allows the pace to vacillate somewhat.
On the other hand, in K247 Vegh doesn't include the K248 March which belongs to it—Rolla does, but without making it very march-like—his violins are not so astonishingly sure-footed and unanimous in the very high register as Rolia's, and he is less convincing in the slow movements. The Andante grazioso strikes me as too leisurely, the Adagio flows only with an effort and at times becomes almost static, the Andante introduction to the finale needs more impulse—and the Allegro assai to which it leads lacks the brisk gaiety with which Rolla invests it. However, I doubt whether either version will cause too serious a disappointment to intending purchasers—and the music itself is enchanting.'