Noblemen of high rank often maintained their own musical establishments; and though this did not often consist, as in the case of Prince Esterhazy or the Prince von Hildburghausen,[60] of a complete orchestra, yet the retinue of most of the nobility (especially in Bohemia) were capable of taking part in orchestral music,[61] or there was at least a band of wind instruments to play during meals or in serenades.[62] But for the private performances of which we have just spoken a complete orchestra was always employed,[63] which was an easier matter then than it would be now that orchestras are so much more fully appointed. This arrangement was of the greatest importance for the musical profession. The frequent concerts gave opportunity for a large number of musicians to educate themselves into good orchestral players, and the composers found constant employment in every branch of their art. Patrons vied with each other in the production of new works by distinguished masters, and above all in the acquisition of celebrated performers. The expense of musical soirées was very great, but custom made it a point of honour among the aristocracy to patronise the art which then surpassed all others in public estimation. Mozart's popularity as a pianist would, as a matter of course, render him much in request at these private concerts. As early as the winter of 1782 he was engaged for all the concerts given by Prince Gallitzin, the Russian ambassador, who "placed his carriage at my disposal both going and returning, and treated me in the handsomest {PRIVATE CONCERTS--NOBLE PATRONS.} (291)