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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Aria - No.9: "Non pił andrai, farfallone amoroso" (Basso)
Atto I. Seguito della scena VIII.

Now that Cherubino has been sent away to the military by the Count, Figaro
paints a vivid picture of how life will change for the poor boy: instead of
flirting he will live among ruffians and be in dangerous battles.

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

Details:
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The first note in bar five (left hand) and similar figures throughout are
grace notes. The trills in bar 14 (right hand) are not explicitly written
because they would be inaudible. The left land in the same bar has double-
beamed half notes (minims) (what's the proper term for this?). The trills
in bars 20ff however are expanded.

This piece really demands brass instead of strings for certain parts, first
for bars 61ff, 89ff and 109. The triplets in that bar, which occur also in
bars 97 and 99 are of course a joke by W.A. Mozart: it's difficult enough to
keep step and march to the rhythm in bar 96, but triplets really reveal how
unsuited Cherubino is for military duty.

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