This contradicts Da Ponte's account of the secrecy with which the opera was prepared; and it may be doubted also whether it was really written in six weeks. The date in Mozarts own catalogue,-April 29, 1786, only proves that he closed his work by writing the overture immediately before the first performance (May 1).[41] Da Ponte may have exaggerated somewhat tor the sake of effect. Mozart's Thematic Catalogue shows what he was capable of accomplishing even while at work upon "Figaro." There is a hiatus in the catalogue from July 5, 1785, to November 5. It is possible that he was busy with the opera during this interval; but during the time immediately following, when he was working at it in real earnest, we find the following compositions entered:-- 1785. November 5. Quartet to the "Villanella Rapita" (Vol. II., p. 331). November 21. Terzet I (479, 480 K.). December 12. Sonata for piano and violin in E flat major (481 K.). December 16. Pianoforte concerto in E flat major (482 K.). 1786. January 10. Pianoforte rondo in D major (485 K.). January 18. Terzet from the "Schauspieldirector." February 3. "Schauspieldirector" (486 K.). March 2. Pianoforte concerto in A major (488 K.). March 10. Duet and air for the private performance of "Ido-meneo" (489, 490 K.). March 24. Pianoforte concerto in C minor (491 K.). April 29. "Le Nozze di Figaro" (492 K.). To these may be added the Lent Concerts, which were also then occupying him. There were other difficulties to be overcome before the performance, of which we hear nothing from Da Ponte, but which are related by Kelly:-- There were three operas now on the _tapis_, one by Righini ("ü Demo-gorgone"), another by Salieri ("La Grotta di Trofonio"), and one {INTRIGUES AGAINST "FIGARO."} (69)