Since the mid–19th-century discovery of the sinfonia concertante for winds, sometimes labeled K.297b, the work has been considered authentic by some and dubious by others, and its reception in the concert hall has paralleled these critical vicissitudes. An examination of 168 texts discussing this composition reveals that the authors’ reactions to the work are closely bound to their opinions on who wrote it.
For example, authors who believed that the work was by Mozart described it as strong, sturdy, and solid, while those that did not called it flimsy, arbitrary, illogical, and incomprehensible; those crediting Mozart rated the work highest level and a masterpiece, while those who considered it spurious rated it not first class; and the Mozart designators considered it delightful, celestial, and enchanting, while the non-Mozart camp described it as tasteless, inept, and cheap.
This according to “Musical attribution and critical judgment: The rise and fall of the sinfonia concertante for winds, K.297b” by John Spitzer (The journal of musicology V/3 [summer 1987] pp. 319–56). Below, we invite you to form your own opinion.