of, nor was there much time available for a trip to Weimar to re-examine Liszt's manuscript, and it is now clear that his version was never intended to be a scholarly edition of Liszt's piece.Couling 2005, p. 254. Kenneth Hamilton, in his review of Howard's later edition, notes that "for reasons of personal psychology that we can only guess at, [Busoni] chose to give the impression in his preface that he had expanded, rather than drastically cut, Liszt's manuscript." By contrast, the Busoni scholar Larry Sitsky maintains that it is not certain that Liszt intended to perform the music from the two operas together. Instead, since the manuscript pages are unnumbered, it is possible that pages from two separate works were at some point in time placed together in the Weimar holdings. "Since the transition to and from the Don Giovanni music is in C major, the 15 pages of manuscript can be played or omitted without any damage to the harmonic scheme. The Don Giovanni paraphrase begins on a fresh page and at no time are motives from both operas seen on the same page of Liszt's manuscript." Version by Howard It was not until much later in the twentieth century that anyone compared Busoni's version to the manuscript. In 1991, the Scottish pianist and writer Kenneth Hamilton was the first to publish the results of such a comparison. In The Opera - Fantasias and Transcriptions of Franz Liszt - A Critical Study, he writes: As the chief weakness of Liszt's Fantasia on Figaro and Don Juan is the introduction of the minuet from Don Juan into the middle of a piece which up to that point seemed to be a fine fantasia on motifs from Figaro alone, Busoni's solution was to cut the Gordian knot entirely and remove the minuet section, despite the fact that he could not excise the third minuet theme from the coda. By this means the piece gained greater structural coherence, although some fine music was inevitably lost. In addition to suggesting dynamic markings and marks of articulation, Busoni filled out some bars of the introduction (bars 28-37) by adding chromatic scales and tremolo. There is nothing in this which conflicts stylistically with Liszt's music, but the greater elaboration does tend to reduce the improvisatory effect important to this section. Soon after (bars 48 ff.), Busoni altered Liszt's figuration for what seems like no