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 http://www.geocities.com/mcmbednarek/ 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: ---------- Coro - No.8: "Giovani liete" Atto I. Scena VIII. The people of the village sing a laudatory hymn to their noble master who has relinquished his ius prima noctis. Well, he hasn't; quite to the contrary: he is very keen to bed Susanna. But this hymn and Figaro's argument in the following recitativo force him to agree reluctantly, although he hopes that Marcellina's intrigue might play in his favour. The number is then repeated. As with most pieces I did for "Nozze", the orchestra is here represented by MIDI instrument 49 "String Ensemble 1", the choir sopranos are 69 "Oboe", the tenors 61 "French Horn". Spatial orientation has the soprani and the low strings a bit to the left, the tenors and the high strings a bit to the right. For acoustic balance the part of the choir sopranos has its volume reduced to about 80%. To economise on the number of visible staves, I combined tenors and basses. Details: -------- The choral parts in Figaro are not its best bits. While the orchestra shines and dazzles as usual, and the choral melody is pleasing enough, given that it depicts the people from the village, the other voices sound more like a compul- sory harmonisation exercise. I am grateful for notification of any mistakes I may have made, or just for a brief email from anyone who used this file.