K.46c In meditating yesterday on the different ways I listen to music, I hereby and from hereon out pledge to involve myself emotionally to the piece that I listen to, though not forcedly.  I shall listen to the pieces like I normally do and will, hopefully, be aware and yet unaware of things like form, pitch, emotional tenor of line, and so forth.  When I cannot stomach a piece, when I cannot at all get on board with it, I will skip it.  Life is too short to listen to operas without understanding the lyrics.  I'll listen to a symphony instead - and actually enjoy it.  The operas that I can attain a translation for, I will listen to.  Right now, this reasoning excludes 46a and b.
In short, I will try, as much as possible, to imitate Hazlitt's interpretations of Shakespeare.  Why shouldn't I attempt the thing with only my ears and my emotions to guide me?  This of course does not preclude the analysis of said emotions.  But the emotional reaction must be mentioned.  Otherwise we are unfairly blinding the reader with pre-packaged rationalizations.
So, no 46a and b, sadly.  I am not capable of them.
Enough said.  46c.  Song with odd falling line as its opening theme.  46d, the opening theme of this movement stops abruptly, stacatto like, and then continues, and the harpsichord counterpoint beneath is pleasant.  The texture of the minor development portion of the second movement is interesting.  Also, in the second movement, there is once again a sense of a juxtaposition of themes that seem to clash and that one would never think of putting together, unless one were daft, pressed for time, or striving for something unusually complex.
46e - enjoyed the opening movement well enough, most of all struck by how much I enjoyed the simple fact of the counterpoint between the harpsichord and the violin.  Also enjoyed the bouncy and maybe a bit dancelike feeling of the second movement (and again the counterpoint).