more especially in music.[28] Among them were students in the genuine sense of the word, such as Frau von Trattnern, to whom Mozart addressed elaborate written communications on the execution of his clavier compositions, more especially on his Fantasia in C minor, composed for her.[29] For Barbara Ployer he composed (February 9, 1784) the Concerto in E flat major (449 K.), which he did not consider as among his great ones, and the more difficult one in G Major (453 K.); and he writes to his father (June 9, 1784):-- To-morrow there is to be a concert at Herr Ployer's country-house in Dobling; Fräulein Babette is to play her new concerto in G, I the quintet [with wind instruments, in E flat major, 452 K.], and then both of us the grand sonata for two pianos [in D major, composed early in 1784, 448 K.]. I am to take Paesiello, who has been here since May on his return journey from St. Petersburg, in order that he may hear my compositions and my pupils. No doubt the greater number of his pupils either--like Fräulein Aumhammer--cared more for social intercourse with Mozart than for actual instruction, or took lessons for a short time only that they might be able to speak of the great performer as their teacher. The celebrated physician, Jos. Frank, relates that he took twelve lessons from him in 1790:[30]-- I found Mozart a little man with a large head and plump hand, and was somewhat coldly received by him. "Now," said he, "play me something." I played a fantasia of his own composition. "Not bad," said he, to my great astonishment; "but now listen to me play it." It was a miracle! The piano became another instrument under his hands. It was strengthened by a second piano, which served him as a pedal.[31] Mozart then made some remarks as to the way in which I should perform the fantasia. I was fortunate enough to understand him. "Do {MARRIED LIFE.} (280) you play any other pieces of my composition?" "Yes," answered I; "your variations on the theme 'Unser dummer Pobel meint' (455 K.), and a sonata with accompaniments for violin and violoncello." "Good! I will play you that piece; you will profit more by hearing me than by playing them yourself." It is plain that he had the tact and skill to manage even such pupils as these. He treated those who had the power and the wish to become true artists under his guidance in quite another fashion, and they profited not only by his regular instruction, but still more by his encouragement and incitement to exertion.