Mozart wrote an oboe concerto for the celebrated oboist Gius. Ferlendi, of Brescia, who was in the Salzburg band in 1775; it does not seem to have been preserved. He tells his father (November 4, 1777) that he has made a present of it to the oboist Ramm at Mannhein, who was wild with delight, and played it five times with the greatest applause. He sent from Vienna for the little book containing the Ferlendi concerto, for which Prince Esterhazy had promised him three ducats. Another composition of Mozart's was a concerto for the flute, which, according to Schiedenhofen, was performed by Cosel in a serenade arranged by Wolfgang for his sister; this may have been the Concerto in G major (313 K.), which evidently belongs to this period. A certain Baron Thad. von Dümitz was an amateur on the bassoon; Mozart composed three concertos for him, one in C and two in B flat major (191 K.), short and unpretentious, as the instrument required; also a duet for bassoon and violoncello (292 K.).[55] Although from his earliest years Mozart had excited lively admiration by his clavier and organ-playing, it will be better to consider his performances on these instruments later on, when we shall have the assistance of more direct testimony. We know little more of his studies[56] than that he practised {CLAVIER COMPOSITIONS.} (323) the clavier much and diligently, which, indeed, requires no proof. Compositions by Wagenseil, Paradies, Bach, and Lucchesi are incidentally mentioned as subjects for home practice. There now remains to consider only the compositions for the clavier, of which there are curiously few known. Some may have been lost, but it is a fact that after his first childish attempts Mozart composed comparatively little for the clavier during his residence in Salzburg. There was little opportunity of performing clavier compositions, the instrument was not used solo in the court concerts, private concerts were not profitable in Salzburg, and in society Mozart generally made use of the clavier to improvise or prelude. The lessons which he gave to ladies of rank afforded him an opportunity for composing, but for these pupils he could only write show-pieces. To the earliest authentic clavier compositions belong the variations (179 K.) on a very popular minuet by the celebrated oboist Fischer, a bravura piece for the time, full of what were then considered difficulties.[57] He had them sent to Munich in 1774 in order to make a show with them, and on the journey to Paris we hear that he had recourse to the Fischer variations when he was obliged to play in polite society; proving that he was not provided with many compositions of the kind.