good reason other than his personal fancy [...] The task of providing a suitable transition between the variations of "Non più andrai" and the coda was carried out most dexterously by Busoni, as was his completion of the ending. Indeed, the unobtrusiveness of Busoni's hand to someone unfamiliar with the manuscript version is probably the main reason that most scholars took Busoni's title page at face value. There is no reason why both Busoni's and Liszt's original version of the fantasia should not find favour with pianists and audiences, the more satisfying structure of the one being offset by the fascinating minuet transcription of the other... Later, after learning of Hamilton's findings, the Australian-born pianist, and notable scholar of Liszt's music, Leslie Howard, attempted to reconstruct the work as he believed Liszt intended, recording, and in 1997 publishing, the newly-recast work. His intention was to "publish... the whole of Liszt's Fantasy with an authenticity of text, supplying and clearly indicating the few bars... which are necessary to render the work performable." As reconstructed by Howard, the piece includes the music based on the dance scene from the Act I finale of Don Giovanni. The dramatic opening is based on the music from Figaro: a free paraphrase of "Non più andrai" followed by an arrangement of "Voi che sapete" in A-flat major instead of Mozart's B-flat major. This is the only appearance of Cherubino's music. Figaro's aria returns, initially in its original C major, but is quickly varied both harmonically and pianistically. However, instead of proceeding to Mozart's coda, the aria transitions to the dances from Don Giovanni. In the opera, the dances are a minuet in , a country dance in , and a quick waltz in . Liszt keeps the minuet in F major, and combines it with the country dance in the same key. He does not add the waltz as Mozart does, but treats it separately, eventually combining it with the country dance and, "excellently," a portion of Figaro's aria. A series of modulations follow which combine bits of all four themes. At the final transition, the earlier material from Figaro is reused alongside the theme from the minuet. This leads to the coda, which finishes Figaro's aria and where the manuscript breaks off just before the likely end of the piece. Howard has added a transitional passage of three bars from the Don Giovanni dance music