Seven weeks later, Mozart was dead. Even in Mozart's day, the basset clarinet was a rare, custom made device, so when the piece was posted posthumously, a new edition was organized with the low notes transposed to ordinary range. This has proven a tricky resolution, as the autograph now not exists, having been pawned by Stadler, and until the mid 20th century musicologists did not know that the one edition of the concerto written by Mozart's hand had not been heard since Stadler's lifetime. Once the challenge was discovered, makes an attempt were made to reconstruct the fashioned edition, and new basset clarinets have been built for the real purpose of performing Mozart's concerto and clarinet quintet. There can now not be any doubt that the concerto was composed for a clarinet with a longer range. In this context it is worth noting two other works written for Stadler and his instrument by composers intently linked to the Mozart–Stadler circle that used the extended range of Stadler's tool: the clarinet concerto by Franz Xaver Süssmayr famous for having achieved Mozart's Requiem and that by Joseph Leopold Eybler. The starting orchestral ritornello is joyful and light-weight, and soon transforms into a flurry of 16th notes in descending series, played by the violins and flutes while the lower gadgets drive the piece forward. After the medial caesura, the strings begin a series of canons before the 1st closing theme, featuring dueling violin I's and violin II's, enters. The second remaining theme is a lot more subtle until the fanfare of its final 2 bars. As the soloist enters, the clarinet repeats the beginning theme with the expected added ornamentation. As the orchestra restates the most theme, the clarinet traverses the complete range of the instrument with a number of thrives.