[Footnote 68: Two fragments of Mozart's pianoforte score of Constanze's and Blond-chen's songs (11 and 12) are preserved in his handwriting. The piano score of the first act is noticed in the Wien. Ztg., 1785, No. 98.] CHAPTER XXV. "DIE ENTFÜHRUNG AUS DEM SERAIL." THE gradual decline of the German festival and "spektakel" operas was consummated in 1742, when Gottsched, {DIE ENTFÜHRUNG AUS DEM SERAIL.} (216) who had waged incessant war against them throughout his career, had the satisfaction of chronicling the opera of "Atalanta," in Dresden, as the last of its kind[1] but they were succeeded by a sort of aftergrowth in the form of the operetta.[2] The theatrical managers could not altogether dispense with similar means of attraction, and attempts were made to introduce the musical intermezzo, together with the now fairly well-established ballet. In 1743 Schonemann produced in Berlin Coffey's "Devil to Pay" ("Der Teufel ist los"), adapted by Von Barck, with the English melodies;[3] but this attempt, as well as the performance of Schürer's vaudeville "Doris," in Dresden, in 1747,[4] remained without result. In 1752 Koch, of Leipzig, who had had recourse to the performance of Italian intermezzi,[5] commissioned Chr. Fel. Weisse to make a new adaptation of Coffey's "Devil to Pay, or the Bewitched Wives," which was set to music by Standfuss, the assistant-manager of Koch's company.[6] Gottsched and his wife renewed the old strife against this attempt, but were completely defeated.[7] The second part of the opera "Der Teufel ist los"--"Der Lustige Schuster"--was produced by Koch, in 1759, at Lubeck.[8] But not until his return to {GERMAN OPERETTA.} (217)