Bob Draper writes, regarding Mozart's 'too many notes':

>He has been applauded for his counterpoint keeping 6 lines going in place
>in the Jupiter symphony.

As well he should...

>Although I like this particular work (unlike most Mozart) I have no
>inclination to sit and follow such a complex construction.

Curious; this is exactly one of my strongest inclinations.

>It seems to me to be like a Juggler keeping balls in the air.  I can keep
>more up than you - big deal.  The pundits seem to be awarding plaudits to
>M for this line of approach but to me the result seems messy.  There's much
>too much going on in 'late' Mozart for my liking as the man seeks to
>impress.  The musicians seem to be having a battle with each other.

(Hi, Bob D.) Counterpoint, IMHO, is one of the near-lost (not yet;
constantly revived, to some degree) arts that helps one along from
'guy-who-writes-music' to 'composer'.

Writing 3 or 4 voice strict counterpoint (Mozart, of course, cannot be
strictly be called 'strict') is one of the hardest things I had to try;
and we were working right out of Fux!  (Great book, 'Graduus ad Parnassum',
IIRC.) 6 voice florid counterpoint is beyond my ken at this point.  I can't
even conceive of starting, let alone sustaining, such an endeavor.

But then again--I love late Mozart.  I also love busy, dissonant, 20th
century note-y music; as long as (as was originally suggested) it is not
really superfluous.  (Superfluminous?)

Is superfluousness a matter of taste?  I'd like to submit:

No.

(I'm probably wrong.)

Bob K., waiting 'till there's another so I have to spell my name out