to the final section and the final 15 bars to complete the piece. He has also added expression marks, including "dynamics, marks of articulation, numbers indicating numerical groupings, m.d. and m.s. marks, pedallings, tempo and other textual directions. The evident deficiencies of the manuscript (time signatures, accidentals, stems, beams, rest signs, fermatas) have been tacitly supplied throughout." He uses square brackets to differentiate his additions or suggestions from the original text. The dedication to Monsieur de Gericke Conseille de Legation appears in the left margin on p. 38 in Howard's reconstruction of the work. The selection and juxtaposition of themes from Figaro and Don Giovanni may have had special significance for Liszt. Howard describes it as follows: Bearing in mind George Bernard Shaw's perceptive observations upon Liszt's musical interpretation of the morality of the Don in the Don Giovanni Fantasy, it might be similarly if cautiously suggested that the combination and disposition of the themes in the minuet scene in the present work also adumbrate a moral fable: that the flirtatiousness of Cherubino which may seem harmless enough at the beginning could be leading to the unforgivable behaviour of a Don Giovanni, unless good common sense (See Figaro: "Non più andrai...") hinders him from doing so.The completion was published by Editio Musica Budapest (EMB) in 1997. Performances The Fantasy on Themes from Mozart's Figaro and Don Giovanni is very rarely performed in either version, mostly due to its duration (much longer than that of his other showpieces like the Mephisto Waltzes) and the dexterity and technique required for a successful performance. Nevertheless, the Figaro Fantasy, as prepared by Busoni, was performed extensively by himself, his student Egon Petri, and later championed by the youthful Vladimir Horowitz and Grigory Ginsburg. The Russian pianist Emil Gilels made a famous recording of Busoni's version in 1935. However, it has fallen out of the standard pianist repertoire. Stephen Hough and Jean-Yves Thibaudet still perform this work occasionally and have both recorded it. Leslie Howard recorded his own version in 1993 as a part of his complete piano music recordings of Liszt, and later occasionally included it in his recitals. Mariam Batsashvili, the first prize winner of the 10th International Franz Liszt Piano Competition and the Chinese pianist Chiyan Wong have also made their recordings of Howard's reconstruction. ReferencesNotesSources''' Beaumont, Antony (1985). Busoni the Composer. London: Faber and Faber. . Beaumont, Antony, editor (1987). Busoni: