As soon as I discovered MOZART's feature to arpeggiate chords, I had to trans- cribe Jaques Offenbach's Barcarolle from The Tales of Hoffmann with its famous opening arpeggios. I think it works quite well. This is actually taken from the four handed version in AMSCO's The Library of Piano Classics, but I also had to strengthen the one-count in the left hand lest it disappear among all the other chords. The difference can be heard in bars 11ff where I didn't continue that emphasis. In bars 7 to 11 I used ppp to lessen the chord on the four-count which was too heavy because it has one more note: MIDI volume will just double if there are two notes instead of one. And then we have to deal with four bars of tremolo at the end for the left hand; sigh. I also didn't slavishly reproduce the print when I economised the score by using repeat marks. For my opinion on this and another version, see AIDA.TXT . April 2003: MOZART 7 introduced the tremolo, so I could get rid of the extremely ugly explicit notation in bars 45ff, thus reducing the score from two pages to one. While I was at it, I also entered the pedal marks into the score because they now actually play. And because I found the left hand which I had instrumented as strings increasingly horrible I changed it to the slightly more bearable piano. Michael Bednarek http://www.geocities.com/mcmbednarek/