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.} (236) 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.