The present study analysis the historical background of the Prague premiere of the opera Le Nozze di Figaro by Wolfgang Amadeus Mozart in December 1786. The author focuses on the phenomenon of the so called „burgherization“ of the opera within the frame of the dance music. In the concrete the study deals with the cycle of 12 German dances with coda by Johann Nepomuk Kanka. All of these two-piece dances, including the final coda, adapted melodies or motives from the mentioned work of Mozart. The study aspires to clarify the following questions: who was the composer of the cycle - father (born in 1744) or son (born in 1772) Johann Nepomuk Kanka? What is peculiar in Kanka’s stylization? What was the chronological order of the two preserved versions (for clavicembalo and for orchestra) - in
other words, if there was a later extract for piano or a later instrumentation. The chapter on
musical stylization contains text in supplement, table and illustrative examples of notes that
demostrate differences between melodical-motivic fundaments of the opera and its adjustments for dances. The study also tries to achieve more precise Information on the conducting of this music in the time, when and where the dances were played. The realized research indicates that the opera music met with a large response in the Prague burgher society and directly entered also this level of musical culture.