It was the B flat major divertimento that Mozart played at Munich in 1777, "as if he was the first violinist in Europe," so that "every one stared." It is evident that difficulty of execution in his composition for the violin, which is more noticeable after 1773, kept pace with Mozart's progress as a violinist.[43] A style of composition much in vogue at that time was the so-called "harmoniemusik," for wind instruments alone. Sometimes it was used as serenades, sometimes people of rank had performances of six- or eight-part harmoniemusik morning and evening, during meals, in which they were imitated by the more pretentious tavern-keepers. There was opportunity enough for cultivating this branch of composition at Salzburg. In form these compositions, which were generally called divertimenti or partite (partie) resembled those just described. They consist of three, four, or sometimes more movements, which were grouped without any fixed rule. One {INSTRUMENTAL MUSIC.} (308) divertimento (186 K.) closes with a contredanse en rondeau; another (240 K.) has an andante as first movement; then follows a minuet, and then a polonaise; a third (253 K.) begins with an andante and variations. The two first pieces of this kind are both scored for ten parts, two oboes, two clarinets, two English horns, two French horns, and two bassoons. Since one of the divertimenti (166 K.) was composed at Salzburg on March 24, 1773, and the other probably at much the same time; and since there were no clarinets in the usual Salzburg orchestra, they must have been composed for some very special occasion. But neither the plan nor the composition are on a larger scale than usual; the work is wanting both in extent and expression, and the instrumentation is neither free nor forcible. There are two striking partites, one consisting of ten, the other of six movements, which were written for two flutes, five trumpets (in C and D), and four drums (in C, G, D, A) (187, 188, K.), about the year 1773 or 1774, apparently to employ the trumpet orchestra on some festival occasion. Whether the union of flutes with trumpets was founded on precedent or not I cannot say. The flutes lead the melody, and have allotted to them musical passages, connected, but short and unimportant in substance and style. The trumpets seldom take part in the melody, but are for the most part employed either together or separately as accompaniment; the object has apparently been to preserve the effect of a body of sound in the trumpets as far as possible, while aiming at giving them a definite musical form. In the earlier and more prosperous times of the trumpeters' guild, accomplished masters of horn-playing would not have needed the support of flutes.