The form of fandango has been used by many European composers, and often included in stage and instrumental works. Notable examples include J. P. Rameau's "Les trois mains" (in "Nouvelles suites de pièces de clavecin", ca. 1729–30); Fandango forms #19 in the part 2 of Gluck's ballet "Don Juan" (1761); in the third-act finale of Mozart's opera "The Marriage of Figaro" (1786); in the finale of Luigi Boccherini's String Quartet Op. 40 No. 2 (1798) and Guitar Quintet G.448; Antonio Soler's Fandango for harpsichord; and the finale of Rimsky-Korsakov's "Capriccio Espagnol". Luis de Freitas Branco's third movement of his "Suite Alentejana No. 1" is inspired on the fandango of the regions of Alentejo and Ribatejo of Portugal.