The sustained popularity of Don Giovanni has resulted in extensive borrowings and arrangements of the original. The most famous and probably the most musically substantial is the operatic fantasy, Réminiscences de Don Juan by Franz Liszt. The minuet from the finale of act 1, transcribed by Moritz Moszkowski, also makes an incongruous appearance in the manuscript of Liszt's Fantasy on Themes from Mozart's Figaro and Don Giovanni, and Sigismond Thalberg uses the same minuet, along with "", in his , Op. 42. Thalberg also included a piano arrangement of "Il mio tesoro" in his , Op. 70. "" also makes an appearance in the Klavierübung of Ferruccio Busoni, under the title (Variation study after Mozart). Schumann included a piano arrangement of "Vedrai carino" in his , which was originally intended for his Album for the Young. Chopin wrote Variations on "Là ci darem la mano" (the duet between Don Giovanni and Zerlina) for piano and orchestra. Beethoven and Danzi also wrote variations on the same theme. And Beethoven, in his Diabelli Variations, cites Leporello's aria "" in variation 22. Franz Xaver Wolfgang Mozart used minuet from the finale to act 1 ("Signor, guardate un poco") for his "" for piano Op. 2, and János Fusz used the same theme for a set of variations for four hands (Op. 10). The turkeys in Chabrier's "Ballade des gros dindons" (1889) finish each verse imitating the mandolin accompaniment of the Serenade.Pierre Bernac. The Interpretation of French Song. Praeger Publishers, New York, Washington, 1970. Chapter 7, p. 86.
