The Fantasy on Themes from Mozart's Figaro and Don Giovanni (German: Fantasie über Themen aus Mozarts Figaro und Don Giovanni), S.697, is an operatic paraphrase for solo piano by Franz Liszt, based on themes from two different Mozart's operas: The Marriage of Figaro, K.492 and Don Giovanni, K.527. Liszt composed the work by the end of 1842 or early 1843, as he performed it at the latest in Berlin on 11 January 1843. Left as an unfinished manuscript upon his death, it was both completed and recorded by the pianist Leslie Howard in 1993 and published in 1997. Earlier, Ferruccio Busoni had published a much shorter performing version, the Fantasy on Two Motives from W. A. Mozart's The Marriage of Figaro, in 1912. Busoni's version, which does not include the music based on Don Giovanni, is often nicknamed the "Figaro Fantasy". A typical performance lasts approximately thirteen minutes for Busoni's completion and over twenty minutes for Howard's later reconstruction. Manuscript Liszt's autograph manuscript for the nearly completed work is currently housed at the Stiftung Weimarer Klassik/Goethe- und Schiller-Archiv, Weimar (shelf mark GSA 60/I 45). There is no title, date or place of composition, or signature on the manuscript, which consists of 50 unnumbered pages of music. Much of the music is based on two arias from the opera The Marriage of Figaro: Figaro's "Non più andrai" (Act I) and Cherubino's "Voi che sapete" (Act II). Fifteen pages are devoted to the dance scene from the Act I finale of Don Giovanni.Sitsky 2009, pp. 237-238. Howard writes: The manuscript shows his method of composition of such a fantasy quite clearly: the broad outlines, such as the new themes or sections, are commenced on new pages, and space is left to concoct transition material. The introduction, the two pieces from Figaro, the Don Giovanni minuet and the coda are each in self-contained parts of the manuscript. On several occasions Liszt has marked some repeated figures for possible excision by placing the fragments in brackets with a question mark over them. These tiny tightenings of the structure add up to just a few bars [...] The penultimate section breaks off in the middle of some transitional material which does not join happily to the coda. Liszt's incomplete manuscript contains no title, no tempo indications, and very few dynamics and articulation marks. The ending is some few bars from complete, and there is another