When sending his father those composed in the following year, he wrote (May 24, 1784): "I can wait patiently until you send them back, so long as they do not fall into any one else's hands; I might have had twenty-four ducats for one of them to-day; but I think it will be to my advantage to keep them a couple of years by me, and then to have them printed." He used to take only the orchestral parts with him on his journeys, and to play himself from a clavier part of most extraordinary appearance, according to Rochlitz.[69] It consisted of only the figured bass and the principal {MARRIED LIFE.} (294) motifs, with hints for the passages, runs, &c.; he depended on his memory, which never by any chance failed him. In 1788 he advertised copies of three quintets for four ducats.[70] As far, then, as concertos and symphonies were concerned, the composer made his principal profit by his own performance of them; but he was also called upon to write different things for other people. Mozart wrote many compositions for his pupils, an extraordinary number for his friends and acquaintance, and not a few to order on particular occasions. Among the latter class are the quartets written for Frederick William II., in 1789 and 1790 (575, 589, 590, K.), for which he was doubtless well paid; it was said that he received for the first a valuable gold snuff-box and a hundred friedrichs-d'or.[71] It is well known that one hundred ducats were paid in advance for the Requiem, and something may have come in for the adaptation of Handel's oratorios, ordered by Van Swieten in 1788 and 1789, as well as for here and there a commission or dedication. But a closer examination of the long list of Mozart's compositions of this class makes it probable that they were not for the most part profitable to him. A characteristic anecdote is related of him by his widow, which bears out this supposition.[72] At one of Mozart's Sunday matinées there was present a Polish Count, who was very much delighted with the new (composed March 30, 1784) pianoforte quintet with wind instruments. He commissioned Mozart to write a trio with obbligato flute, which the latter promised to do. As soon as he arrived at home, the Count sent Mozart a hundred half-louis with a very polite note, repeating his thanks for the pleasure the music had given him. The terms of the note left Mozart no doubt that the money was a generous gift, and he returned the politest acknowledgment, at the same time sending the Count, contrary to his custom, the original score of the quintet he had so much admired. A year after the Count came again to Mozart and inquired after the trio. Mozart excused himself by saying he had not yet found himself in the humour to {PUBLICATION OF COMPOSITIONS.} (295)