The work:
---------
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:
-----------
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:
----------
Aria - No.3: "Se vuol ballare..." (Basso)
Atto I. Seguito della scena II.

Probably the central piece of the opera. Now that Figaro knows about the
Count's intentions, he sings a cynical cavatina, vowing to take the Count
on at his own game.

Unlike most pieces I did for "Nozze", the orchestra is here represented by
MIDI instrument 47 "Orchestral Harp" because of the cavatina character of the
aria. Figaro is as usual 58 "Trombone". Spatial orientation has Figaro far
left, the high strings centre, low strings far right.

Details:
--------
The Orchestral Harp works surprisingly well throughout the whole piece, except
for the last eight bars which really demand strings. But Figaro's scheming
intentions (bars 20ff) and his outrage (bars 42ff) come through pretty well.
W.A. Mozart's ingenious use of a single repeated note (bars 58 to 63) to ex-
press Figaro's controlled anger works of course regardless of instrumentation.
The articulation and ritardando in bars 62 and 63 are mine.

The left hand in bar 51 is really a dotted half note (minim), but because it
demands a dynamic change has to be written as is (see also NOZZE02.TXT).

I didn't expand the trills demanded in bars 66ff because they couldn't be heard
at the tempo (presto).

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