Abstract
STUDIES of Mozart's The Magic Flute have generally ignored the overall musical structure of the opera as a resource for discerning its meaning. Failure to consider its musical structure limits understanding of the work, particularly in preparing it for the stage. The tendency to reorder musical numbers provides a supposedly more coherent version of the plot but seriously disrupts the musical organization.' In striking contradiction to this trend, Eugen Schmitz's Formgesetze in Mozart's Zauberflite2 presented a schema in which he identified each musical number by key as a means of demonstrating the unity of the opera. Yet Schmitz's analysis typifies the view that the order of tonal centers is in some measure haphazard. For example, he points to what he sees as an imbalance between the coherence of the first act and the extra-
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