The work:
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Le Nozze di Figaro ossia la folle giornata (KV 492)
Dramma giocoso in quattro atti
(Burgtheater Vienna, 1-May-1786)
(The Marriage of Figaro)
by Wolfgang Amadeus Mozart
(*27-Jan-1756 Salzburg, +5-Dec-1791 Vienna)

Libretto by Lorenzo da Ponte (Emanuele Conegliano)
(*10-Mar-1749 Ceneda, +17-Aug-1838 New York)

based on the comedy "Le mariage de Figaro" (Paris, 1784) by
Beaumarchais (Pierre Augustin Caron)
(*24-Jan-1732 Paris, +19-May-1799 Paris)

Transcribed from G. Ricordi & C. Editori, Milano 1985
by Michael Bednarek [mb@doh.health.nsw.gov.au]

Background:
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The score I used is much more than a piano excerpt; in fact, I'm convinced
that some parts are unplayable: it really is a condensed orchestral score.

I transcribed these pieces for the pleasure of seeing W.A. Mozart at work and,
my own practical instrumental skills being limited, making the sounds come
to live. I'm grateful to the author of "Mozart", a notation program like no
other in its very pleasing method of using the computer keyboard economically
to enter a musical score.

The piece:
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Duetto - No.2: "Se a caso Madama la notte ti chiama" (Soprano e Basso)
Atto I. Seguito della scena I.

Figaro is exuberant about the advantages of their new quarters (bars one to
39), being so close to the Countess's and the Count's chambers. Susanna
however suspects more sinister motives on the part of the Count (bars 43 to 68)
and torments Figaro with potential scenarios involving the Count pursuing her
(bars 68 to end).

As with most pieces I did for "Nozze", the orchestra is represented by MIDI
instrument 49 "String Ensemble 1"; Figaro is 58 "Trombone", Susanna 74 "Flute".
Spatial orientation has the high strings a bit left, low strings a bit right,
Susanna far left, Figaro far right.

Details:
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Dynamics are only shown as visible on the right hand part and hidden on the
left hand.

Trills as in bar four, and similar ones later, are implemented as a triplet.

The piece relies a lot on sudden dynamic contrasts; they either indicate the
Count demanding attention in the first part of the duet, or doubt, suspicion
and torment in the second part. The latter emotions are subtly introduced in
bars 40 to 42 through high register staccato notes which also accompany
Susanna's alternate reading of the situation. Figaro's torment becomes
clearest in his long notes in bars 74 to 82; his doubts and suspicions are
expressed in sharply dotted rhythms in bars 105ff and 113ff.

Note the fermata and tempo changes in bars 82ff.

The left hand in bars 108 to 111 (an 116 to 119) are really half notes (minims)
with sforzando / piano. Mozart (and probably MIDI in general) cannot change the
volume (velocity) within one note, so they had to be written as eighth (quaver)
/ dotted quarter (crotchet).

The ritartando (tempo changes) in the last two bars are mine; feel free to
criticize or change.

I am grateful for notification of any mistakes I may have made, or just for a
brief email from anyone who used this file.