The concert[31] was poorly attended, and scarcely paid the expenses of Mozart's journey to Leipzig. Almost half the audience had free tickets, which, with his usual liberality, Mozart gave away to every one he knew. He required no chorus, and the fairly numerous chorus-singers were therefore excluded from their usual free admission. Some of them inquired at the ticket-office whether this was really to be the case; and as soon as Mozart heard of the inquiry he gave orders that the good folks should all be admitted: "Who would think of enforcing such a rule?" The poor audience had not the effect of damping his musical enthusiasm or good humour. His own compositions only were performed; he conducted two symphonies, as yet unpublished, and then Madame Duschek sang the air composed for Storace with obbligato pianoforte (505 K.); he himself played two concertos, one of them the great C major (467 K.), as usual without notes. He complied with ready goodwill to the request for an improvisation at the close of the concert; and after it was over, as though he were then just warming to {A PROFESSIONAL TOUR.} (234) his work, he took his friend Berger into his room and played far into the night.[32] 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.} (235)