ABSTRACT. Link’s paper concerns the use of dance in the Act 3 finale of Mozart's Le nozze di Figaro, starting from the problem articulated by Alan Tyson in his Mozart: Studies of the Autograph Scores. According to Waeber, in the early nineteenth century, the piano étude was conceived as an outgrowth of the eighteenth-century exercice, perpetuating the idea of mechanical virtuosity devoid of any poetic meaning. As Sheinbaum puts it, orchestral colour can be read as an important part, both literally and metaphorically, of Theodor W. Adorno’s approach to Mahler. Marston explores the metaphorical identification of the tonic key as ‘home’ in relation to the first movement of Schubert's Piano sonata in Bb, D.960.