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@nrhs.health.nsw.gov.au>
http://www.geocities.com/mcmbednarek/

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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Coro di Contadine - No.21: "Ricevete, o padroncina"
Atto III. Scena IX.

The farm girls, among them the similarly attired Cherubino, offer roses to the
Countess.

As with most pieces I did for "Nozze", the orchestra is here represented by
MIDI instrument 49 "String Ensemble 1", the choir sopranos are 72 "Clarinet".
Spatial orientation has the soprani on the far right, the high strings on the
far left, and the low strings a bit to tye right. To economise on the number
strands, both soprano voices use the same stave. This was especially feasible
because there is not a single rhythmic difference and the voices never cross;
the only drawback is that common notes have only one tail.

Details:
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The choral parts in Figaro are not its best bits. While the orchestra shines
and dazzles as usual, the melody, albeit pleasing enough, plays mostly in just
a fifth above the dominant, briefly extending to an octave, and the second voice
is mere accompaniment: not exactly a demanding part. This is understandable and
within character, given that it depicts the farm girls from the village.

Grace notes and trills are explicitly written and denoted on their first
occurrence. The staccato on the main note of all occurrences of the figure in
the second half of bar five is mine.

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