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[ In the Parisian travesty of the "Zauberflöte" the virtuous shepherd Bochoris sings this song to induce the guard to liberate Pamina, and by this means gradually works up the twelve Moorish slaves and the guard into such a state of comic and exhilarated emotion that they form round him during his song, and execute an exceedingly characteristic pantomimic dance, expressive of curiosity and delight. Then the chorus of the guard falls in, interspersed with Lais' lovely singing, which continues until the chorus sink at his feet in delight. "It is impossible," adds Reichardt, in describing this scene (Vertraute Briefe aus Paris, I., p. 438), "to imagine anything more piquant or perfect. It made such an impression that it had to be repeated, a thing which had never happened there before" (A. M. Z., IV., p. 72). The rearrangement of the music necessitated is described in A. M. Z., IV., Beil. I.]
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[ At a performance of the "Zauberflöte" at Godesberg, in June, 1793, a steel keyed instrument was substituted for the bells with good effect (Berl. Mus. Ztg., 1793, p. 151).]
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[ Castelli (111. Familienbuch, 1852, p. 119), quoting from the bass-player Seb. Mayer.]
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[ "Herr Schikaneder has made it his habit to dabble in all the operas composed for him, altering the keys and sometimes striking out the best-passages and substituting bad ones. Even Mozart had to submit to his criticism in the composition of the 'Zauberflöte,' and underwent not a little annoyance in consequence. For instance, the duet 'Bei Männern' had to be composed five times before it pleased him" (A. M. Z., I., p. 448.)]
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[ Berl. Mus. Ztg., 1793, p. 148.]