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. FOOTNOTES OF CHAPTER XL. [Footnote 1: A proof of this is a note of hand for 100 florins, dated April 2, 1789. Cf. O. Jahn, Ges. Aufs., p. 234.] [Footnote 2: The principal sources of information for this journey are Mozart's letters to his wife.] [Footnote 3: Heymann, Dresden's Schriftsteller u. Kunstler, p. 280. Meissner, Biqgr. Naumanns, II., p. 267.] [Footnote 4: Cf. Goethe's Br. an Frau v. Stein, II., p. 280.] [Footnote 5: And yet Mannstein says (Gesch. Geist u. Ausübung des Gesanges, p. 89) that when Naumann heard the passage "Tu sospiri, o duol funesto" in the air composed for Storace (505 K.), he exclaimed: "That is a divine idea I Who has taught this man to express sympathy with the sorrows of others as well as those of his own heart in these few notes?"] [Footnote 6: Wien. Abendpost, 1866, p. 835. Cf. Mus. Real-Ztg., 1789, p. 191.] [Footnote 7: Joh. Wilh. Hassler (1747-1822) has prefixed his autobiography to the second part of his six easy sonatas (Erfurt, 1786).] [Footnote 8: Cramer, Mag. f. Mus., II., p. 404. Schiller, Briefw. m. Körner, I., p. 154. Car. v. Wolzogen, Litt. Nachl., I., p. 203.] [Footnote 9: Meyer, L. Schroder, II., 1., p. 360.] [Footnote 10: Musik. Wochenbl., p. 71.] [Footnote 11: Mus. Real-Ztg., 1788, p. 56.] [Footnote 12: Doles dedicated his cantata "Ich komme vor dein Angesicht" (1790), "to two of his most esteemed patrons and friends, Herr Mozart and Herr Naumann, as a token of his distinguished regard."] [Footnote 13: Rochlitz, Fur Freunde der Tonk., III., p. 222..] [Footnote 14: Reichardt, Mus. Ztg., I., p. 132.] [Footnote 15: Naumann's Leben, p. 183. Meissner, Biogr. Naumanns, II., p. 199; cf. 212.] [Footnote 16: Wolf, Auch eine Reise, Weim., 1784, p. 10.] [Footnote 17: Reichardt, Musik. Monatsschr., p. 70. Mus Ztg., I., p. 2. Cf. Schletterer, Reichardt, I., p. 453. Schneider, Gesch. der Oper, p. 52.]