Further to my recent contribution to the classical borrowings debate, I've just remembered a variation on this theme in which Louis Spohr, for the overture to his opera, "Alruna" of 1808, basically took the skeleton of Mozart's Magic Flute overture and substituted his own themes, sticking to the original key of E flat and the same layout of an adagio followed by an allegro. I wonder if there other examples of this type of borrowing? Interestedly yours, John H. White. [log in to unmask]