Mozart returned to Berlin[ 33 ] on May 19, and his "Entführung" was performed the same evening "by general desire."[ 34 ] He went to the theatre, seated himself close to the orchestra, and attracted the attention of his immediate neighbours by his sotto voce remarks on the performance. In Pedrillo's air at the words "nur ein feiger Tropf verzaget," the second violins played D sharp instead of D, whereupon Mozart angrily exclaimed, "Damn it, play D, will you!" Every one looked round astonished, and the orchestra recognised him. Madame Baranius, who was playing Blondchen, refused to make her exit until Mozart went on to the stage, complimented her, and promised to study the part with her himself.[ 35 ] This promise, according to old tradition in Berlin,[ 36 ] involved him in a questionable adventure. Henriette Baranius (née Husen) made her appearance at a very early age in Berlin in 1784, and became the darling of the public, more from her remarkable beauty and grace than from her talents as an actress and a singer, although these were by no means inconsiderable.[ 37 ] She was much talked of, and the theatrical critics of the time were never tired of admiring her costly and tasteful dresses, which in defiance of all precedent she insisted upon wearing in parts to which they were unsuited.[ 38 ] She was accused of making the most of her attractions in private as well as in public, and Mozart, it was said, became so deeply involved with her that it cost his friends much trouble to extricate him. His letters to his wife during this period make the story almost incredible.
Another and more innocent encounter took place in the LUDWIG TIECK AND MOZART. theatre. Ludwig Tieck, as a youth, was frequently at the house of Reichardt, and there first began "to divine the mysteries of music in classical works":—
Led by his own inclination, and in opposition to the prevailing taste, he addicted himself to Mozart's great compositions, uninfluenced by contemporary critics, or even by so powerful an opinion as that of Reichardt. Mozart's victorious rival was Dittersdorf, whose comic operas were played in Berlin to crowded audiences. The "Doctor und Apotheker" was preferred to "Figaro" or "Don Juan," and "Die Liebe im Narrenhause" was in the public estimation the greatest of musical works. Ludwig's veneration for Mozart was destined to receive an unexpected reward. One evening during the year 1789, entering the theatre, as his custom was, long before the performance began, and while it was still empty and half-lighted, he perceived a strange man in the orchestra. He was short, quick, restless, and weak-eyed—an insignificant figure in a grey overcoat. He went from one desk to another, and appeared to be hastily looking through the music placed on them. Ludwig at once entered into conversation with him. They spoke of the orchestra, the theatre, the opera, the public taste. He expressed his opinions without reserve, and declared his enthusiastic admiration of Mozart's operas. "Do you really hear Mozart's works often, and love them?" asked the stranger—"that is very good of you, young sir." The conversation continued for some time longer; the theatre began to fill, and at last the stranger was called away from the stage. His talk had produced a singular effect upon Ludwig, who made inquiries concerning him, and learnt that it was Mozart himself, the great master, who had conversed with him, and expressed his obligation to him.[ 39 ]
Hummel, who, as Mozart's pupil, had played in Dresden on March 10 with great success,[ 40 ] was giving a concert in Berlin, without being aware of Mozart's presence. When the boy descried him among the audience, he could scarcely contain himself, and as soon as his piece was ended, he pushed his way through the audience and embraced him with the tenderest expressions of joy at seeing him.[ 41 ] During this A PROFESSIONAL TOUR. second visit to Berlin, on May 26, Mozart played before the Queen, which was considered a politic step, without any expectation of a handsome present in return. Following the advice of his friends, he did not attempt a public concert, seeing that there was no chance of a large profit, and the King was averse to it. The latter, however, sent him a present of 100 friedrichsdor, and expressed a wish that Mozart would write some quartets for him. This was the whole result of the tour, diminished by a loan of 100 florins which Mozart thought it incumbent on him to make to a friend; he might well write to his wife that she must be glad to see him, not the money he was bringing.
Very different was the career of Dittersdorf, who came to Berlin in July of the same year. He had chosen the time when the visit of the Governess of the Netherlands occasioned festivities of every kind, and he refreshed the memory of the King, who had seen and invited him at Breslau, by the presentation of six new symphonies. Immediately upon his arrival he managed to ingratiate himself with Reichardt, was by him presented to Madame Rietz, afterwards Countess Lichtenau, and was very soon commanded by the King to put his "Doctor und Apotheker" in rehearsal, and to conduct it at a court festival at Charlottenburg; he also received permission to produce his oratorio of "Job" in the opera-house (hitherto only used by the court), with the resources of the royal Kapelle at his disposal. This, with additions from other sources, increased his personnel to 200, and the performance was highly successful, Dittersdorf quitting Berlin rich in money and honours.[ 42 ]
On May 28 Mozart set out on his homeward journey by way of Dresden and Prague, where he made a stay of a few days.
