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:
----------
Duetto - No.20: "Sull'aria? Che soave zeffiretto" (due Soprani)
Atto III. Seguito della Scena VIII.

The Countess dictates to Susanna a letter which informs the Count of time and
place for a tryst ostensibly whith Susanna, in truth however with the Countess
disguised as Susanna.

As with most pieces I did for "Nozze", the orchestra is here represented by
MIDI instrument 49 "String Ensemble 1", Susanna is 69 "Oboe", the Countess is
72 "Clarinet". Spatial orientation has Susanna far right, the Countess far left,
strings in the centre.

Details:
--------
The story  of the Countess dictating a letter to Susanna is reflected in the
form of this duet which is mainly alternating between the two voices. In bars
34ff, which is not part of the letter, they sing in simple thirds, then they
re-read the letter with small overlaps. The soprano figures in bars 48 and 49
indicate the decptive nature of the letter, as do the staccatos in the
orchestra at different places.

The diminuendi in bars 61 and 62 are mine; on stage, bar 62 has only a 16th
(semiquaver) rest after the final note and continues in 4/4 time and C major
with recitativo "Piegato è il foglio".

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