Life of Mozart

—LUDWIG TIECK AND MOZART. 235theatre. Ludwig Tieck, as a youth, was frequently at thehouse of Reichardt, and there first began "to divine themysteries 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 bycontemporary critics, or even by so powerful an opinion as that ofReichardt. Mozart's victorious rival was Dittersdorf, whose comicoperas were played in Berlin to crowded audiences. The " Doctor undApotheker" was preferred to "Figaro" or "Don Juan," and "DieLiebe im Narrenhause" was in the public estimation the greatest ofmusical works. Ludwig's veneration for Mozart was destined to receivean unexpected reward. One evening during the year 178g, entering thetheatre, as his custom was, long before the performance began, andwhile it was stillempty and half-lighted, he perceived a strange man inthe orchestra. He was short, quick, restless, and weak-eyed — aninsignificant figure in a grey overcoat. He went from one desk toanother, and appeared to be hastily looking through the music placedon them. Ludwig at once entered into conversation with him. Theyspoke of the orchestra, the theatre, the opera, the public taste. Heexpressed his opinions without reserve, and declared his enthusiasticadmiration of Mozart's operas. " Do you really hear Mozart's worksoften, and love them?" asked the stranger— "that is very good ofyou, young sir." The conversation continued for some time longer;the theatre began to fill, and at last the stranger was called away fromthe stage. His talk had produced a singular effect upon Ludwig, whomade inquiries concerning him, and learnt that it was Mozart himself,the great master, who had conversed with him, and expressed his obligationto him.'^Hummel, who, as Mozart's pupil, had played in Dresden onMarch lo with great success,*^ was giving a concert in Berlin,without being aware of Mozart's presence. When the boydescried him among the audience, he could scarcely containhimself, and as soon as his piece was ended, he pushed hisway through the audience and embraced him with thetenderest expressions of joy at seeing him.^^ During this89 Köpke, L. Tieck, L, p. 86. It is well known that in 1789 the " Entführung,"alone of Mozart's operas, was given in Berlin, " Figaro " and " DonGiovanni " not appearing on the stage there until November and December,1790. This is a fresh proof of how youthful memories are confounded withlater reminiscences.^0Mus. Real-Ztg., 1789, p. 156." So Hummel's widow told me at Weimar, in 1S55.