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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Marcia - No.22(a): "Ecco la marcia!"
Atto III. Seguito della Scena XI.

(I separated No.22 into (a) and (b) mainly for practical reasons of keeping the
necessary number of strands small.)

Upon hearing the band play a march, Figaro, Susanna, Countess and Count decide
not to delay the wedding festivities any longer. There is considerable tension
between Count and Countess.

As with most pieces I did for "Nozze", the orchestra is here represented by
MIDI instrument 49 "String Ensemble 1", the three soloists are all represented
by 72 "Clarinet", which with its wide range is quite well suited. Spatial
orientation has the soloists in the centre, high strings slightly left, low
strings slightly right. Most of the staccati are mine.

Details:
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W.A. Mozart didn't suffer fools gladly. He couldn't understand how someone
claiming to be a musician would produce wholly unsubtle and barbaric works.
Of course, then and now, most music is really crap and only few works excel.
The melodic material in this march is as unimaginative as it comes: a single
note. The soloists don't take any notice of the band and continue their conver-
sation; in fact, their recitativo contains more melodic phrases than the march.
The second theme is not much better, very repetitive with a somewhat clumsy
resolution. In short, a really bad baroque march, and there were plenty of
those around. However, the harmonic mutations are nothing short of breath-
taking, and the listener is kept in delightful suspense.

About a year later, on June 14, 1787, W.A. Mozart took this idea a bit further
-may be too far- with his "Ein musikalischer Spaß" (A musical joke) KV 522.
There, he cruelly lampoons "village musicians" (the subtitle), although I think
he really meant to hit contemporary composers, not the performers.

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