Mozart also gave regular musical performances every Sunday morning in his own house; he used to invite his friends, and musical amateurs were admitted on payment. Kelly relates[66] that he never missed one of these. I find them mentioned elsewhere also, and have heard of them from old people who took part in them during the last years of Mozart's life. They were always well attended; but whether Mozart's public concerts were continued with unabated success after the year 1788, or whether the time had come when he was to experience "the fickleness" of the Viennese, I have no means of determining with exactitude. He wrote three symphonies in June, July, and August of 1788, whence it may be concluded that he was giving concerts during that time; and, by the same reasoning, the absence of any symphonies or concertos composed during the years immediately following would prove that no concerts were then given. His pecuniary embarrassments during those years tell the same tale; and the cutting off of this important contribution to his income seems to have occasioned his journeys to Berlin and Frankfort. Not until January, 1791, do we meet with another pianoforte concerto in B flat major (595 K., No. 15) that was no doubt intended for a Lenten concert. The publication of his compositions, which in the present day would have been Mozart's chief dependence, was by no means profitable, as matters then stood. The music trade {PUBLICATION OF COMPOSITIONS.} (293) of the day was small and insignificant; indeed, the first impulse was given to it by the publication of an edition of all Mozart's works soon after his death. During his life, however, compositions were more often copied than printed;[67] and the composer was obliged to keep careful watch lest copies should be distributed which were not ordered from him, and which in consequence he was never paid for. It need scarcely be said that caution such as this was not in Mozart's nature, and that copies of his works were frequently made and sold without his knowledge. Different musical firms (Joh. Traeg, Lausch, Torricella, &c.) advertised copies of his compositions for sale under his very eyes; nor was this conduct, however undesirable, thought unworthy of a respectable tradesmen. He was careful only of his concertos; too much depended on his keeping possession of them, and not allowing any one to play them who chose. His three first concertos, indeed, he thought it advisable to publish himself by a subscription of six ducats (December 23, 1782). He offered them afterwards to the "highly respectable public" for four ducats, "beautifully copied and revised by himself."[68] Even this his father thought too dear; but Mozart thought that the concertos were worth the money, and could not be copied for it.